Official name	City of New Orleans
Native name	Ville de La Nouvelle-Orléans
Other name	Orleans Parish
Settlement type	City and Parish
Nickname	"The Crescent City", "The Big Easy", "The City That Care Forgot", "Nawlins" and "NOLA" (acronym for New Orleans, Louisiana).
Website	nola.gov
Flag size	100px
Image seal	New Orleans City Seal.gif
Map caption	Location in the State of Louisiana
Pushpin map	USA2
Pushpin map caption	Location in the United States
Coordinates region	US-LA
Subdivision type	Country
Subdivision type1	State
Subdivision type2	Parish
Subdivision name	United States
Subdivision name1	Louisiana
Subdivision name2	Orleans
Established title	Founded
Established date	1718
Leader title	Mayor
Leader name	Mitch Landrieu (D)
Area magnitude	1 E8
Unit pref	Imperial
Area total km2	907
Area total sq mi	350.2
Area land km2	467.6
Area land sq mi	180.6
Area water km2	439.4
Area water sq mi	169.7
Area metro km2	9,726.6
Area metro sq mi	3,755.2
Population as of	2010
Population total	343,829
Population metro	1,235,650
Population density km2	759
Population density sq mi	1965
Population demonym	New Orleanian
Timezone	CST
Utc offset	-6
Timezone dst	CDT
Utc offset dst	-5
Latns	N
Coordinates	29°57′53″N90°4′14″N
Longew	W
Elevation m	-2 to 6
Elevation ft	-6.5 to 20
Postal code type
Area code	504
Footnotes	}}

New Orleans ( or , locally or ; ) is a major United States port and the largest city and metropolitan area in the state of Louisiana. The New Orleans metropolitan area, (New Orleans–Metairie–Kenner) has a population of 1,235,650 as of 2009, the 46th largest in the USA. The New Orleans – Metairie – Bogalusa combined statistical area has a population of 1,360,436 as of 2000. The city/parish alone has a population of 343,829 as of 2010.

The city is named after Philippe d'Orléans, Duke of Orléans, Regent of France, and is well known for its distinct French Creole architecture, as well as its cross cultural and multilingual heritage. New Orleans is also famous for its cuisine, music (particularly as the birthplace of jazz), and its annual celebrations and festivals, most notably ''Mardi Gras''. The city is often referred to as the "most unique" in America.

New Orleans is located in southeastern Louisiana, straddling the Mississippi River. The boundaries of the city and Orleans Parish () are coterminous. The city and parish are bounded by the parishes of St. Tammany to the north, St. Bernard to the east, Plaquemines to the south and Jefferson to the south and west. Lake Pontchartrain, part of which is included in the city limits, lies to the north and Lake Borgne lies to the east.

History

Beginnings through the 19th century

La Nouvelle-Orléans (New Orleans) was founded May 7, 1718, by the French Mississippi Company, under the direction of Jean-Baptiste Le Moyne de Bienville, on land inhabited by the Chitimacha. It was named for Philippe d'Orléans, Duke of Orléans, who was Regent of France at the time. His title came from the French city of Orléans. The French colony was ceded to the Spanish Empire in the Treaty of Paris (1763). During the American Revolutionary War, New Orleans was an important port to smuggle aid to the rebels, transporting military equipment and supplies up the Mississippi River. Bernardo de Gálvez y Madrid, Count of Gálvez successfully launched the southern campaign against the British from the city in 1779. New Orleans remained under Spanish control until 1801, when it reverted to French control. Nearly all of the surviving 18th century architecture of the Vieux Carré (French Quarter) dates from this Spanish period. (The most notable exception being the Old Ursuline Convent.) Napoleon sold the territory to the United States in the Louisiana Purchase in 1803. Thereafter, the city grew rapidly with influxes of Americans, French, Creoles, Irish, Germans and Africans. Major commodity crops of sugar and cotton were cultivated with slave labor on large plantations outside the city.

The Haitian Revolution of 1804 in what was then the French colony of St. Domingue established the second republic in the Western Hemisphere and the first led by blacks. Haitian refugees, both white and free people of color (''affranchis'' or ''gens de couleur libres''), arrived in New Orleans, often bringing slaves with them. While Governor Claiborne and other officials wanted to keep out more free black men, French Creoles wanted to increase the French-speaking population. As more refugees were allowed in Louisiana, Haitian émigrés who had gone to Cuba also arrived. Nearly 90 percent of the new immigrants settled in New Orleans. The 1809 migration brought 2,731 whites; 3,102 free persons of African descent; and 3,226 enslaved refugees to the city, doubling its French-speaking population. Many of these white francophones were deported by officials in Cuba in response to Bonapartist schemes in Spain.

During the last campaign of the War of 1812, the British sent a force of 11,000 soldiers in an attempt to capture New Orleans. Despite great challenges, the young Andrew Jackson successfully cobbled together a motley crew of local militia, free blacks, US Army regulars, Kentucky riflemen, and local privateers to decisively defeat the British troops, led by Sir Edward Pakenham, in the Battle of New Orleans on January 8, 1815. The armies were unaware that the Treaty of Ghent had already ended the war on December 24, 1814.

As a principal port, New Orleans played a major role during the antebellum era in the Atlantic slave trade. Its port handled huge quantities of commodities for export from the interior and imported goods from other countries, which were warehoused and then transferred in New Orleans to smaller vessels and distributed the length and breadth of the vast Mississippi River watershed. The river in front of the city was filled with steamboats, flatboats, and sailing ships. Despite its dealings with the slave trade, New Orleans at the same time had the largest and most prosperous community of free persons of color in the nation, who were often educated and middle-class property owners.

Dwarfing in population the other cities in the antebellum South, New Orleans had, consequently, the largest slave market. Two-thirds of the more than one million slaves brought to the Deep South arrived via the forced migration of the internal slave trade. The money generated by sales of slaves in the Upper South has been estimated at fifteen percent of the value of the staple crop economy. The slaves represented half a billion dollars in property, and an ancillary economy grew up around the trade in slaves for transportation, housing and clothing, fees, etc., estimated at 13.5 percent of the price per person. All of this amounted to tens of billions of dollars (2005 dollars adjusted for inflation!) during the antebellum period, with New Orleans as a prime beneficiary.

According to historian Paul Lachance, “the addition of white immigrants to the white creole population enabled French-speakers to remain a majority of the white population until almost 1830. If a substantial proportion of free persons of color and slaves had not also spoken French, however, the Gallic community would have become a minority of the total population as early as 1820.” Large numbers of German and Irish immigrants began arriving at this time. The population of the city doubled in the 1830s and by 1840 New Orleans had become the wealthiest and third-most populous city in the nation.

The Union captured New Orleans early in the American Civil War, sparing the city the destruction suffered by many other cities of the American South.

In the 1850s white Francophones remained an intact and vibrant community, maintaining instruction in French in two of the city's four school districts. As the Creole elite feared, however, this changed with the Civil War; in 1862 French instruction in schools was abolished by Union general Ben Butler, and teaching of the language was forbidden in schools in 1868. By the end of the 19th century French usage in the city had faded significantly, although as late as 1945 one still encountered elderly Creole women who spoke no English.

During Reconstruction New Orleans was within the Fifth Military District of the United States. Louisiana was readmitted to the Union in 1868, and its Constitution of 1868 granted universal manhood suffrage. Due to the state's large African American population, many blacks held public office. In 1872, then-lieutenant governor P.B.S. Pinchback succeeded Henry Clay Warmouth as governor of Louisiana, becoming the first non-white governor of a U.S. state, and the last African American to lead a U.S. state until Douglas Wilder's election in Virginia, 117 years later. In New Orleans, Reconstruction was marked by the horrible Mechanics Institute race riot (1866) but also by the successful operation of a fully racially-integrated public school system. Meanwhile, the city's economy struggled to right itself after practically grinding to a halt upon the declaration of war in 1861, the nationwide Panic of 1873 conspiring to severely retard economic recovery.

Reconstruction ended in Louisiana in 1877, and white southern Democrats, the so-called Redeemers, succeeded in stripping power from the Republican Party and gradually circumscribing the only recently acquired civil rights of African Americans. In New Orleans, the public schools were resegregated and remained so until 1960.

New Orleans' large community of well-educated, often French-speaking free persons of color (''gens de couleur libres''), who had not been enslaved prior to the Civil War, sought to fight back against the incipient forces of Jim Crow. As part of their ongoing campaign, they recruited one of their own, Homer Plessy, to test whether Louisiana's newly enacted Separate Car Act was constitutional. Plessy duly boarded a commuter train departing New Orleans for Covington, Louisiana, sat in the car reserved for whites only and was arrested. The case spawned by this incident, ''Plessy v. Ferguson'', was heard by the U.S. Supreme Court in 1896. The court, in finding that "separate but equal" accommodations were constitutional, strengthened by effectively consecrating the already-underway Jim Crow movement. The ruling was a key development in the nadir of race relations reached during this period.

20th century

New Orleans reached its most consequential position as an economic and population center in relation to other American cities in the decades prior to 1860; as late as that year it was the nation's fifth-largest city and by far the largest in the American South. Though New Orleans continued to grow in size, from the mid-19th century onwards, first the emerging industrial and railroad hubs of the Midwest overtook the city in population, then the rapidly growing metropolises of the Pacific Coast in the decades before and after the turn of the 20th century, then other Sun Belt cities in the South and West in the post–World War II period surpassed New Orleans in population. Consequently, New Orleans has periodically mounted attempts to regain its economic vigor and pre-eminence over the past 150 years, with varying degrees of success.

By the mid-20th century, New Orleanians were observing with concern that the city was even ceding its traditional ranking as the leading urban area in the South. By 1950, Houston, Dallas and Atlanta had surpassed New Orleans in size, and 1960 witnessed Miami's eclipse of New Orleans, even as New Orleans' population was recorded as reaching its historic peak by the 1960 Census. Like most older American cities in this period, New Orleans' center city commenced losing inhabitants, though the New Orleans metropolitan area continued expanding in population – just never as rapidly as its metropolitan peers in the Sun Belt. While the port remained one of the largest in the nation, automation and containerization resulted in significant job losses. The city's relative fall in stature meant that its former role as banker and financial services provider to the South was inexorably supplanted by competing companies in its now-larger peer cities. New Orleans' economy was always more of a trade-based, commercial entrepot than manufacturing powerhouse, but the city's smallish manufacturing sector also shrank in the post–World War II period. Despite some economic development successes under the administrations of DeLesseps "Chep" Morrison (1946–1961) and Vic Schiro (1961–1970), metropolitan New Orleans' growth rate consistently lagged behind the more vigorous Sun Belt cities.

During the later years of Morrison's administration, and for the entirety of Schiro's, the city struggled to digest the ramifications of the legal enfranchisement of its sizable African-American population. New Orleans was very much at the center of the Civil Rights struggle. The SCLC was founded in the city, lunch counter sit-ins were held in Canal Street stores, and a very prominent and ugly series of confrontations occurred when the city attempted school desegregation, in 1960. That episode witnessed the first occasion of a black child attending an all-white elementary school in the South, when six year-old Ruby Bridges integrated William Frantz Elementary School in the city's Ninth Ward. The Civil Rights movement's success in realizing the desegregation of public facilities and schools, and the enfranchisement of the black voter, constituted the most significant event in New Orleans' 20th century history. Though legal equality was established by the end of the 1960s, a yawning gap in income levels and educational attainment persisted between the city's white and black communities. The effects of this gap were amplified by accelerating white flight, as the city's population grew poorer and blacker. New Orleans' political leadership, from 1980 onwards firmly in the hands of its African-American majority, struggled to narrow this gap by creating conditions conducive to the economic uplift of the black community.

New Orleans became increasingly dependent on tourism as an economic mainstay, arguably fatally so by the administrations of Sidney Barthelemy (1986–1994) and Marc Morial (1994–2002). Unimpressive levels of educational attainment, high rates of household poverty and rising crime became increasingly problematic in the later decades of the century, with the negative effects of these socioeconomic conditions newly amplified as the United States economy increasingly rested upon a post-industrial, knowledge-based paradigm where brains were far more important than brawn.

The turn of the 20th century witnessed one of the earlier episodes in the ongoing series of energetic recommitments to jump-starting economic growth on the part of New Orleans' government and business leaders. The most portentous development during this period was a drainage plan devised by engineer and inventor A. Baldwin Wood and designed to break the surrounding swamp's stranglehold on the city's geographic expansion. Until then, urban development in New Orleans was largely limited to higher ground along the natural river levees and bayous. Wood's pump system allowed the city to drain huge tracts of swamp and marshland and expand into low-lying areas. Over the 20th century, rapid subsidence, both natural and human-induced, left these newly populated areas several feet below sea level.

New Orleans was vulnerable to flooding even before the city's footprint departed from the natural high ground near the Mississippi River. In the late 20th century, however, scientists and New Orleans residents gradually became aware of the city's increased vulnerability. In 1965, Hurricane Betsy killed dozens of residents, even though the majority of the city remained dry. The rain-induced flood of May 8, 1995 demonstrated the weakness of the pumping system. After that event, measures were undertaken to dramatically upgrade pumping capacity. By the 1980s and 90s, it was worrisomely clear that extensive, rapid and ongoing erosion of the marshlands and swamp surrounding New Orleans especially that related to the Mississippi River – Gulf Outlet Canal had left the city far more exposed to hurricane-induced catastrophic storm surges than it had ever before been in its history.

21st century

Hurricane Katrina

New Orleans was catastrophically impacted by what the University of California Berkeley's Dr. Raymond B. Seed called “the worst engineering disaster in the world since Chernobyl” when the Federal levee system failed catastrophically during Hurricane Katrina in 2005. By the time the hurricane approached the city at the end of August 2005, most residents had evacuated. As the hurricane passed through the Gulf Coast region, the city's federal flood protection system failed, resulting in the worst civil engineering disaster in American history. Floodwalls and levees constructed by the United States Army Corps of Engineers failed below design specifications and 80% of the city flooded. Tens of thousands of residents who had remained in the city were rescued or otherwise made their way to shelters of last resort at the Louisiana Superdome or the New Orleans Morial Convention Center. Over 1,500 people died in Louisiana and some are still unaccounted for. Hurricane Katrina called for the first mandatory evacuation in the city's history, the second of which came 3 years later with Hurricane Gustav.

Hurricane Rita

The city was declared off-limits to residents while efforts to clean up after Hurricane Katrina began. The approach of Hurricane Rita in September 2005 caused repopulation efforts to be postponed, and the Lower Ninth Ward was reflooded by Rita's storm surge.

Post-disaster recovery

The Census Bureau in July 2006 estimated the population of New Orleans to be 223,000; a subsequent study estimated that 32,000 additional residents had moved to the city as of March 2007, bringing the estimated population to 255,000, approximately 56% of the pre-Katrina population level. Another estimate, based on data on utility usage from July 2007, estimated the population to be approximately 274,000 or 60% of the pre-Katrina population. These estimates are somewhat smaller than a third estimate, based on mail delivery records, from the Greater New Orleans Community Data Center in June 2007, which indicated that the city had regained approximately two-thirds of its pre-Katrina population. In 2008, the Census Bureau revised upward its population estimate for the city, to 336,644. Most recently, 2010 estimates show that neighborhoods that did not flood are near 100% of their pre-Katrina populations, and in some cases, exceed 100% of their pre-Katrina populations.

Several major tourist events and other forms of revenue for the city have returned. Large conventions are being held again, such as those held by the American Library Association and American College of Cardiology. College football events such as the Bayou Classic, New Orleans Bowl, and Sugar Bowl returned for the 2006–2007 season. The New Orleans Saints returned that season as well, following speculation of a move. The New Orleans Hornets returned to the city fully for the 2007–2008 season, having partially spent the 2006–2007 season in Oklahoma City. New Orleans successfully hosted the 2008 NBA All-Star Game and the 2008 BCS National Championship Game. The city hosted the first and second rounds of the 2007 NCAA Men's Division I Basketball Tournament. New Orleans and Tulane University will be hosting the Final Four Championship in 2012.

Major annual events such as Mardi Gras and the Jazz & Heritage Festival were never displaced or cancelled. Also, an entirely new annual festival, "The Running of the Bulls New Orleans," was created in 2007.

Geography

New Orleans is located at (29.964722, −90.070556) on the banks of the Mississippi River, approximately upriver from the Gulf of Mexico. According to the United States Census Bureau, the city has a total area of , of which , or 51.55%, is land.

The city is located in the Mississippi River Delta on the east and west banks of the Mississippi River and south of Lake Pontchartrain. The area along the river is characterized by ridges and hollows.

New Orleans was originally settled on the natural levees or high ground, along the Mississippi River. After the Flood Control Act of 1965, the United States Army Corps of Engineers built floodwalls and man-made levees around a much larger geographic footprint that included previous marshland and swamp. Whether or not this human interference has caused subsidence is a topic of debate. A study by an associate professor at Tulane University claims: beneath much of the Mississippi Delta has been highly stable for the past 8,000 years with negligible subsidence rates.}}

On the other hand, a report by the American Society of Civil Engineers claims that "New Orleans is subsiding (sinking)":

A recent study by Tulane and Xavier University notes that 51% of New Orleans is at or above sea level, with the more densely populated areas generally on higher ground. The average elevation of the city is currently between one and two feet (0.5 m) below sea level, with some portions of the city as high as at the base of the river levee in Uptown and others as low as below sea level in the farthest reaches of Eastern New Orleans.

In 2005, storm surge from Hurricane Katrina caused catastrophic failure of the federally designed and built levees, flooding 80% of the city. A report by the American Society of Civil Engineers says that "had the levees and floodwalls not failed and had the pump stations operated, nearly two-thirds of the deaths would not have occurred".

New Orleans has always had to consider the risk of hurricanes, but the risks are dramatically greater today due to coastal erosion from human interference. Since the beginning of the 20th century, it has been estimated that Louisiana has lost of coast (including many of its barrier islands), which once protected New Orleans against storm surge. Following Hurricane Katrina, the United States Army Corps of Engineers has instituted massive levee repair and hurricane protection measures to protect the city.

In 2006, Louisiana voters overwhelmingly adopted an amendment to the state's constitution to dedicate all revenues from off-shore drilling to restore Louisiana's eroding coast line. Congress has allocated $7 billion to bolster New Orleans' flood protection.

According to a study by the National Academy of Engineering and the National Research Council, Levees and floodwalls surrounding New Orleans—no matter how large or sturdy—cannot provide absolute protection against overtopping or failure in extreme events. Levees and floodwalls should be viewed as a way to reduce risks from hurricanes and storm surges, not as measures that completely eliminate risk. For structures in hazardous areas and residents who do not relocate, the committee recommended major floodproofing measures—such as elevating the first floor of buildings to at least the 100-year flood level.

National protected areas

Bayou Sauvage National Wildlife Refuge

Jean Lafitte National Historical Park and Preserve (part)

New Orleans Jazz National Historical Park

Climate

|source 2 = HKO |date=August 2010 }}

The climate of New Orleans is humid subtropical (Köppen climate classification ''Cfa''), with short, generally mild winters and hot, humid summers. In January, morning lows average around , and daily highs around . In July, lows average , and highs average . The lowest recorded temperature was on February 13, 1899. The highest recorded temperature was on August 22, 1980. The average precipitation is annually; the summer months are the wettest, while October is the driest month. Precipitation in winter usually accompanies the passing of a cold front.

Hurricanes pose a severe threat to the area, and the city is particularly at risk because of its low elevation, and because it is surrounded by water from the north, east, and south, and Louisiana's sinking coast. According to the Federal Emergency Management Agency, New Orleans is the nation's most vulnerable city to hurricanes. Indeed, portions of Greater New Orleans have been flooded by: Grand Isle Hurricane of 1909 , New Orleans Hurricane of 1915 , 1947 Fort Lauderdale Hurricane , Hurricane Flossy in 1956, Hurricane Betsy in 1965, Hurricane Georges in 1998, Hurricane Katrina in 2005, Hurricane Rita in 2005, and Hurricane Gustav in 2008, with the flooding in Betsy being significant and in a few neighborhoods severe, and that in Katrina being disastrous in the majority of the city.

New Orleans experiences snowfall only on rare occasions. A small amount of snow fell during the 2004 Christmas Eve Snowstorm and again on Christmas (December 25) when a combination of rain, sleet, and snow fell on the city, leaving some bridges icy. Before that, the last white Christmas was in 1964 and brought . Snow fell again on December 22, 1989, when most of the city received .

The last significant snow fall in New Orleans was on the morning of December 11, 2008.

Cityscape

The Central Business District of New Orleans is located immediately north and west of the Mississippi River, and was historically called the "American Quarter" or "American Sector," and it includes Lafayette Square. Most streets in this area fan out from a central point in the city. Major streets of the area include Canal Street, Poydras Street, Tulane Avenue and Loyola Avenue. Canal Street functions as the street which divides the traditional "downtown" area from the "uptown" area.

Every street crossing Canal Street between the Mississippi River and Rampart Street, which is the northern edge of the French Quarter, has a different name for the "uptown" and "downtown" portions. For example, St. Charles Avenue, known for its street car line, is called Royal Street below Canal Street, though where it traverses the Central Business District between Canal and Lee Circle, it is properly called St. Charles Street. Elsewhere in the city, Canal Street serves as the dividing point between the "South" and "North" portions of various streets. In the local parlance ''downtown'' means "downriver from Canal Street", while ''uptown'' means "upriver from Canal Street". Downtown neighborhoods include the French Quarter, Tremé, the 7th Ward, Faubourg Marigny, Bywater (the Upper Ninth Ward), and the Lower Ninth Ward. Uptown neighborhoods include the Warehouse District, the Lower Garden District, the Garden District, the Irish Channel, the University District, Carrollton, Gert Town, Fontainebleau, and Broadmoor. However, the Warehouse and the Central Business District, despite being above Canal Street, are frequently called "Downtown" as a specific region, as in the Downtown Development District.

Other major districts within the city include Bayou St. John, Mid-City, Gentilly, Lakeview, Lakefront, New Orleans East, and Algiers.

Architecture

New Orleans is world-famous for its abundance of unique architectural styles which reflect the city's historical roots and multicultural heritage. Though New Orleans possesses numerous structures of national architectural significance, it is equally, if not more, revered for its enormous, largely intact (even post-Katrina) historic built environment. Twenty National Register Historic Districts have been established, and fourteen local historic districts aid in the preservation of this ''tout ensemble''. Thirteen of the local historic districts are administered by the New Orleans Historic District Landmarks Commission (HDLC), while one - the French Quarter - is administered by the Vieux Carre Commission (VCC). Additionally, both the National Park Service, via the National Register of Historic Places, and the HDLC have landmarked individual buildings, many of which lie outside the boundaries of existing historic districts.

Many styles of housing exist in the city, including the shotgun house (originating from New Orleans) and the bungalow style. Creole townhouses, notable for their large courtyards and intricate iron balconies, line the streets of the French Quarter. Throughout the city, there are many other historic housing styles: Creole cottages, American townhouses, double-gallery houses, and Raised Center-Hall Cottages. St. Charles Avenue is famed for its large antebellum homes. Its mansions are in various styles, such as Greek Revival, American Colonial and the Victorian styles of Queen Anne and Italianate architecture. New Orleans is also noted for its large, European-style Catholic cemeteries, which can be found throughout the city.

For much of its history, New Orleans' skyline consisted of only low- and mid-rise structures. The soft soils of New Orleans are susceptible to subsidence, and there was doubt about the feasibility of constructing large high rises in such an environment. The 1960s brought the World Trade Center New Orleans and Plaza Tower, which demonstrated that high rises could stand firm on New Orleans' soil. One Shell Square took its place as the city's tallest building in 1972. The oil boom of the early 1980s redefined New Orleans' skyline again with the development of the Poydras Street corridor. Today, New Orleans' high rises are clustered along Canal Street and Poydras Street in the Central Business District.

Culture and contemporary life

Tourism

New Orleans has many major attractions, from the world-renowned French Quarter and Bourbon Street's notorious nightlife to St. Charles Avenue (home of Tulane and Loyola Universities, the historic Pontchartrain Hotel, and many 19th century mansions), to Magazine Street, with its many boutique stores and antique shops.

According to current travel guides, New Orleans is one of the top ten most visited cities in the United States; 10.1 million visitors came to New Orleans in 2004, and the city was on pace to break that level of visitation in 2005. Prior to Katrina, there were 265 hotels with 38,338 rooms in the Greater New Orleans Area. In May 2007, there were over 140 hotels and motels in operation with over 31,000 rooms.

A 2009 ''Travel + Leisure'' poll of "America's Favorite Cities" ranked New Orleans first in ten categories, the most first-place rankings of the 30 cities included. According to the poll, New Orleans is the best U.S. city as a spring break destination and for "wild weekends," stylish boutique hotels, cocktail hours, singles/bar scenes, live music/conerts and bands, antique and vintage shops, cafés/coffee bars, neighborhood restaurants, and people watching. The city also ranked second for gay friendliness (behind San Francisco, California), friendliness (behind Charleston, South Carolina), bed and bath hotels and inns, and ethnic food. However the city was voted last in terms of active residents and near the bottom in cleanliness, safety, and as a family destination.

The French Quarter (known locally as "the Quarter" or Vieux Carré), which dates from the French and Spanish eras and is bounded by the Mississippi River, Rampart Street, Canal Street, and Esplanade Avenue, contains many popular hotels, bars, and nightclubs. Notable tourist attractions in the Quarter include Bourbon Street, Jackson Square, St. Louis Cathedral, the French Market (including Café du Monde, famous for café au lait and beignets) and Preservation Hall. To tour the port, one can ride the ''Natchez'', an authentic steamboat with a calliope, which cruises the Mississippi the length of the city twice daily. Unlike most other places in The United States, and the world, New Orleans has become widely known for its element of elegant decay. The city's many beautiful cemeteries and their distinct above-ground tombs are often attractions in themselves, the oldest and most famous of which, Saint Louis Cemetery, greatly resembles Père Lachaise Cemetery in Paris.

Also located in the French Quarter is the old New Orleans Mint, a former branch of the United States Mint, which now operates as a museum, and The Historic New Orleans Collection, a museum and research center housing art and artifacts relating to the history of New Orleans and the Gulf South. The National World War II Museum, opened in the Warehouse District in 2000 as the "National D-Day Museum", is dedicated to providing information and materials related to the Invasion of Normandy. Nearby, Confederate Memorial Hall, the oldest continually operating museum in Louisiana (although under renovation since Katrina), contains the second-largest collection of Confederate memorabilia in the world. Art museums in the city include the Contemporary Arts Center, the New Orleans Museum of Art (NOMA) in City Park, and the Ogden Museum of Southern Art.

New Orleans also boasts a decidedly natural side. It is home to the Audubon Nature Institute (which consists of Audubon Park, the Audubon Zoo, the Aquarium of the Americas, and the Audubon Insectarium), as well as gardens that include Longue Vue House and Gardens and the New Orleans Botanical Garden. City Park, one of the country's most expansive and visited urban parks, has one of the largest (if not ''the'' largest) stands of oak trees in the world.

There are also various points of interest in the surrounding areas. Many wetlands are in close proximity to the city, including Honey Island Swamp. Chalmette Battlefield and National Cemetery, located just south of the city, is the site of the 1815 Battle of New Orleans.

Entertainment and performing arts

The New Orleans area is home to numerous celebrations, the most popular of which is Carnival, often referred to as Mardi Gras. Carnival officially begins on the Feast of the Epiphany, also known as the "Twelfth Night". Mardi Gras (French for "Fat Tuesday"), the final and grandest day of festivities, is the last Tuesday before the Catholic liturgical season of Lent, which commences on Ash Wednesday.

The largest of the city's many music festivals is the New Orleans Jazz & Heritage Festival. Commonly referred to simply as "Jazz Fest", it is one of the largest music festivals in the nation, featuring crowds of people from all over the world, coming to experience music, food, arts, and crafts. Despite the name, it features not only jazz but a large variety of music, including both native Louisiana music and international artists. Along with Jazz Fest, New Orleans' Voodoo Experience ("Voodoo Fest") and the Essence Music Festival are both large music festivals featuring local and international artists.

Other major festivals held in the city include Southern Decadence, the French Quarter Festival, and the Tennessee Williams/ New Orleans Literary Festival.

In 2002, Louisiana began offering tax incentives for film and television production. This led to a substantial increase in the number of films shot in the New Orleans area and brought the nickname "Hollywood South." Films which have been filmed or produced in and around New Orleans include: ''Ray'', ''Runaway Jury'', ''The Pelican Brief'', ''Glory Road'', ''All the King's Men'', ''Déjà Vu'', ''Last Holiday'', ''The Curious Case of Benjamin Button'', and numerous others. In 2006, work began on the Louisiana Film & Television studio complex, based in the Treme neighborhood. Louisiana began to offer similar tax incentives for music and theater productions in 2007, leading many to begin referring to New Orleans as "Broadway South."

New Orleans has always been a significant center for music, showcasing its intertwined European, Latin American, and African cultures. New Orleans' unique musical heritage was born in its pre-American and early American days from a unique blending of European instruments with African rhythms. As the only North American city to allow slaves to gather in public and play their native music (largely in Congo Square, now located within Louis Armstrong Park), New Orleans gave birth to an indigenous music: jazz. Soon, brass bands formed, gaining popular attraction that still holds today. The city's music was later significantly influenced by Acadiana, home of Cajun and Zydeco music, and Delta blues.

New Orleans' unique musical culture is further evident in its funerals. A spin on the tradition of military brass band funerals, traditional New Orleans funerals feature sad music (mostly dirges and hymns) on the way to the cemetery and happier music (hot jazz) on the way back. Such traditional musical funerals still take place when a local musician, a member of a club, krewe, or benevolent society, or a noted dignitary has passed. Until the 1990s, most locals preferred to call these "funerals with music", but visitors to the city have long dubbed them "jazz funerals".

Much later in its musical development, New Orleans was home to a distinctive brand of rhythm and blues that contributed greatly to the growth of rock and roll. An example of the New Orleans' sound in the 1960s is the #1 US hit "Chapel of Love" by the Dixie Cups, a song which knocked The Beatles out of the top spot on the Billboard Hot 100. New Orleans became a hotbed for funk music in the 1960s and 1970s, and by the late 1980s, it had developed its own localized variant of hip hop, called bounce music. While never commercially successful outside of the Deep South, it remained immensely popular in the poorer neighborhoods of the city throughout the 1990s.

A cousin of bounce, New Orleans hip hop has seen commercial success locally and internationally, producing Lil Wayne, Master P, Birdman, Juvenile, Cash Money Records, and No Limit Records. Additionally, the wave of popularity of cowpunk, a fast form of southern rock, originated with the help of several local bands, such as The Radiators, Better Than Ezra, Cowboy Mouth, and Dash Rip Rock. Throughout the 1990s, many sludge metal bands started in the area. New Orleans' heavy metal bands like Eyehategod, Soilent Green, Crowbar, and Down have incorporated styles such as hardcore punk, doom metal, and southern rock to create an original and heady brew of swampy and aggravated metal that has largely avoided standardization.

New Orleans is the southern terminus of the famed Highway 61.

Media

The major daily newspaper is ''The Times-Picayune'', publishing since 1837. Weekly publications include ''The Louisiana Weekly'' and ''Gambit Weekly''. Also in wide circulation is the ''Clarion Herald'', the newspaper of the Archdiocese of New Orleans.

Greater New Orleans is the 54th largest Designated Market Area (DMA) in the U.S., serving 566,960 homes. Major television network affiliates serving the area include:

4 WWL (CBS)

6 WDSU (NBC)

8 WVUE (Fox)

12 WYES (PBS)

20 WHNO (LeSEA)

26 WGNO (ABC)

32 WLAE (PBS)

38 WNOL (The CW)

42 KGLA (Telemundo)

49 WPXL (ION)

54 WUPL (MyNetworkTV)

Two radio stations that were influential in promoting New Orleans-based bands and singers were 50,000-watt WNOE-AM (1060) and 10,000-watt WTIX-AM (690). These two stations competed head-to-head from the late 1950s to the late 1970s.

WWOZ, the New Orleans Jazz and Heritage Station, broadcasts, 24 hours per day, modern and traditional jazz, blues, rhythm and blues, brass band, gospel, cajun, zydeco, Caribbean, Latin, Brazilian, African, bluegrass, and Irish at 90.7 FM and at www.wwoz.org.

WTUL, a local college radio station (Tulane University), broadcasts a wide array of programming, including 20th century classical, reggae, jazz, showtunes, indie rock, electronic music, soul/funk, goth, punk, hip hop, New Orleans music, opera, folk, hardcore, Americana, country, blues, Latin, cheese, techno, local, world, ska, swing and big band, kids shows, and even news programming from DemocracyNow. WTUL is listener supported and non-commercial. The disc jockeys are volunteers, many of them college students.

Louisiana's film and television tax credits have spurred some growth in the television industry, although to a lesser degree than in the film industry. Many films and advertisements have in part or whole been filmed in the city, as have television programs such as ''The Real World: New Orleans'' in 2000, and ''The Real World: Back to New Orleans'' in 2009 and 2010.

Food

New Orleans is world-famous for its food. The indigenous cuisine is distinctive and influential. From centuries of amalgamation of the local Creole, haute Creole, and New Orleans French cuisines, New Orleans food has developed. Local ingredients, French, Spanish, Italian, African, Native American, Cajun, Chinese, and a hint of Cuban traditions combine to produce a truly unique and easily recognizable Louisiana flavor.

Unique specialties include beignets (locally pronounced like "ben-yays"), square-shaped fried pastries that could be called "French doughnuts" (served with ''café au lait'' made with a blend of coffee and chicory rather than only coffee); Po' boy and Italian Muffuletta sandwiches; Chinese inspired beef Yaka mein; Gulf oysters on the half-shell, fried oysters, boiled crawfish, and other seafood; étouffée, jambalaya, gumbo, and other Creole dishes; and the Monday favorite of red beans and rice. (Louis Armstrong often signed his letters, "Red beans and ricely yours".) Another New Orleans specialty is the Praline (), a candy made with brown sugar, granulated sugar, cream, butter, and pecans.

Dialect

New Orleans has developed a distinctive local dialect of American English over the years that is neither Cajun nor the stereotypical Southern accent, so often misportrayed by film and television actors. It does, like earlier Southern Englishes, feature frequent deletion of the post-vocalic "r". This dialect is quite similar to New York City area accents such as "Brooklynese", to people unfamiliar with either ,. There are many theories regarding how it came to be, but it likely resulted from New Orleans' geographic isolation by water and the fact that the city was a major immigration port throughout the 19th century. As a result, many of the ethnic groups who reside in Brooklyn also reside in New Orleans, such as the Irish, Italians (especially Sicilians), and Germans, among others, as well as a very sizable Jewish community.

One of the strongest varieties of the New Orleans accent is sometimes identified as the Yat dialect, from the greeting "Where y'at?" This distinctive accent is dying out generation by generation in the city itself, but remains very strong in the surrounding parishes.

Less visibly, various ethnic groups throughout the area have retained their distinctive language traditions to this day. Although rare, Kreyol Lwiziyen is still spoken by the Creoles. Also rare, an archaic Louisiana-Canarian Spanish dialect is spoken by the Isleño people, but it can usually only be heard by older members of the population.

Sports

New Orleans' professional sports teams include the 2009 Super Bowl champion New Orleans Saints (NFL), the New Orleans Hornets (NBA), the New Orleans Zephyrs (PCL), and returning for the 2011 season, the New Orleans VooDoo (AFL). It is also home to the Big Easy Rollergirls, an all-female flat track roller derby team, and the New Orleans Blaze, a women's football team. A local group of investors began conducting a study in 2007 to see if the city could support a Major League Soccer team.

The Louisiana Superdome is the home of the Saints, the Sugar Bowl, and other prominent events. It has hosted the Super Bowl a record six times (1978, 1981, 1986, 1990, 1997, 2002) and will host again in 2013. The New Orleans Arena is the home of the Hornets, VooDoo, and many events that are not large enough to need the Superdome. New Orleans is also home to the Fair Grounds Race Course, the nation's third-oldest thoroughbred track. The city's Lakefront Arena has also been home to sporting events.

Each year New Orleans plays host to the Sugar Bowl, the New Orleans Bowl and the Zurich Classic, a golf tournament on the PGA Tour. In addition, it has often hosted major sporting events that have no permanent home, such as the Super Bowl, ArenaBowl, NBA All-Star Game, BCS National Championship Game, and the NCAA Final Four. The Rock ‘n’ Roll Mardi Gras Marathon and the Crescent City Classic are two road running events held annually in the city.

Economy

New Orleans is home to one of the largest and busiest ports in the world, and metropolitan New Orleans is a center of maritime industry. The New Orleans region also accounts for a significant portion of the nation's oil refining and petrochemical production, and serves as a white collar corporate base for onshore and offshore petroleum and natural gas production. New Orleans is a center for higher learning, with over 50,000 students enrolled in the region's eleven two- and four-year degree granting institutions. A top 50 research university, Tulane University, is located in New Orleans' Uptown neighborhood. Metropolitan New Orleans is a major regional hub for the health care industry and boasts a small, globally competitive manufacturing sector. The center city possesses a rapidly growing, entrepreneurial creative industries sector, and is, of course, renowned for its cultural tourism. Greater New Orleans, Inc. (GNO, Inc.) acts as the first point-of-contact for regional economic development and is slotted between Louisiana's Department of Economic Development and the various parochial business development agencies.

New Orleans came into being to act as a strategically located trading entrepot, and it remains, above all, a crucial transportation hub and distribution center for waterborne commerce. The Port of New Orleans is the 5th-largest port in the United States based on volume of cargo handled, second-largest in the state after the Port of South Louisiana, and 12th-largest in the U.S., based on value of cargo. The Port of South Louisiana, also based in the New Orleans area, is the world's busiest in terms of bulk tonnage and, when combined with the Port of New Orleans, it forms the 4th-largest port system in volume handled. Many shipbuilding, shipping, logistics, freight forwarding and commodity brokerage firms either call metropolitan New Orleans home or maintain a large local presence. Examples include Intermarine, Bisso Towboat, Northrop Grumman Ship Systems, Trinity Yachts, Expeditors International, Bollinger Shipyards, IMTT, International Coffee Corp, Boasso America, Transoceanic Shipping, Transportation Consultants Inc., Dupuy Storage & Forwarding and Silocaf. The largest coffee-roasting plant in the world, operated by Folgers, is located in New Orleans East.

Like Houston, New Orleans is located in proximity to the Gulf of Mexico and the many oil rigs that lie just offshore. Louisiana ranks fifth in oil production and eighth in reserves in the United States. It is also home to two of the four Strategic Petroleum Reserve (SPR) storage facilities: West Hackberry in Cameron Parish and Bayou Choctaw in Iberville Parish. Other infrastructure includes 17 petroleum refineries with a combined crude oil distillation capacity of nearly , the second highest in the nation after Texas. Louisiana's numerous ports include the Louisiana Offshore Oil Port (LOOP), which is capable of receiving ultra large oil tankers. Given the quantity of oil importing, Louisiana is home to many major pipelines supplying the nation: Crude Oil (Exxon, Chevron, BP, Texaco, Shell, Scurloch-Permian, Mid-Valley, Calumet, Conoco, Koch Industries, Unocal, U.S. Dept. of Energy, Locap); Product (TEPPCO Partners, Colonial, Plantation, Explorer, Texaco, Collins); and Liquefied Petroleum Gas (Dixie, TEPPCO, Black Lake, Koch, Chevron, Dynegy, Kinder Morgan Energy Partners, Dow Chemical Company, Bridgeline, FMP, Tejas, Texaco, UTP). Several major energy companies have regional headquarters in the city or its suburbs, including Royal Dutch Shell, Eni and Chevron. Numerous other energy producers and oilfield services companies are also headquartered in the city or region, and the sector supports a large professional services base of specialized engineering and design firms, as well as an office for the federal government's Minerals Management Service.

The city is the home to a single Fortune 500 company: Entergy, a power generation utility and nuclear powerplant operations specialist. In the wake of Hurricane Katrina, the city lost its other Fortune 500 company, Freeport-McMoRan, when it merged its copper and gold exploration unit with an Arizona company and relocated that division to Phoenix, Arizona. Its McMoRan Exploration affiliate remains headquartered in New Orleans. Other companies either headquartered or with significant operations in New Orleans include: Pan American Life Insurance, Pool Corp, Rolls-Royce, Newpark Resources, AT&T;, TurboSquid, iSeatz, IBM, Navtech, Superior Energy Services, Textron Marine & Land Systems, McDermott International, Pellerin Milnor, Lockheed Martin, Imperial Trading, Laitram, Harrah's Entertainment, Stewart Enterprises, Edison Chouest Offshore, Zatarain's, Waldemar S. Nelson & Co., Whitney National Bank, Capital One, Tidewater Marine, Popeyes Chicken & Biscuits, Parsons Brinckerhoff, MWH Global, CH2M HILL, Energy Partners Ltd. and The Receivables Exchange.

Tourism is another staple of the city's economy. Perhaps more visible than any other sector, New Orleans' tourist and convention industry is a $5.5 billion juggernaut that accounts for 40 percent of New Orleans' tax revenues. In 2004, the hospitality industry employed 85,000 people, making it New Orleans' top economic sector as measured by employment totals. The city also hosts the World Cultural Economic Forum (WCEF). The forum, held annually at the New Orleans Morial Convention Center, is directed toward promoting cultural and economic development opportunities through the strategic convening of cultural ambassadors and leaders from around the world. The first WCEF took place in October 2008.

The federal government has a significant presence in the area. NASA's Michoud Assembly Facility is located in New Orleans East and is operated by Lockheed Martin. It is a large manufacturing facility where the external fuel tanks for the space shuttles are produced. The Michoud facility lies within the enormous New Orleans Regional Business Park, also home to the National Finance Center, operated by the United States Department of Agriculture (USDA), and the Crescent Crown distribution center. Other large governmental installations include the U.S. Navy's Space and Naval Warfare (SPAWAR) Systems Command, located within the University of New Orleans Research and Technology Park in Gentilly, NAS New Orleans, the future headquarters for the Marine Force Reserves, slated for Federal City in Algiers and the U.S. Fifth Circuit Court of Appeals.

Top employers

According to the City's 2008 Comprehensive Annual Financial Report, the top employers in the city are:

! #	! Employer	! # of employees
1	Ochsner Health System	10,000
2	Tulane University	3,700
3	Acme Truck Line	2,100
4		2,071
5	Vinson Guard Services	1,700
6	Touro Infirmary	1,514
7	American Nursing Services	1,500
7	Boh Bros. Construction	1,500
9	Laitram	1,166
10	United States Services Group	1,004

Demographics

According to the 2010 Census, 343,829 people and 189,896 households were in New Orleans. The racial and ethnic makeup of the city was 60.2% African American, 33.0% White, 2.9% Asian (1.7% Vietnamese, 0.3% Indian, 0.3% Chinese, 0.1% Filipino, 0.1% Korean), 0.0% Pacific Islander, and 1.7% were people of two or more races. People of Hispanic or Latino origin made up 5.3% of the population; 1.3% of New Orleans is Mexican, 1.3% Honduran, 0.4% Cuban, 0.3% Puerto Rican, and 0.3% Nicaraguan.

The last population estimate before Hurricane Katrina was 454,865, as of July 1, 2005. A population analysis released in August 2007 estimated the population to be 273,000, 60% of the pre-Katrina population and an increase of about 50,000 since July 2006. A September 2007 report by The Greater New Orleans Community Data Center, which tracks population based on U.S. Postal Service figures, found that in August 2007, just over 137,000 households received mail. That compares with about 198,000 households in July 2005, representing about 70% of pre-Katrina population. More recently, the Census Bureau revised upward its 2008 population estimate for the city, to 336,644 inhabitants. In 2010, estimates showed that neighborhoods that did not flood were near 100% of their pre-Katrina populations, and in some cases, exceeded 100% of their pre-Katrina populations.

A 2006 study by researchers at Tulane University and the University of California, Berkeley determined that there are as many as 10,000 to 14,000 illegal immigrants, many from Mexico, currently residing in New Orleans. Janet Murguía, president and chief executive officer of the National Council of La Raza, stated that there could be up to 120,000 Hispanic workers in New Orleans. In June 2007, one study stated that the Hispanic population had risen from 15,000, pre-Katrina, to over 50,000.

A recent article released by The Times-Picayune indicated that the metropolitan area had undergone a recent influx of 5,300 households in the later half of 2008, bringing the population to around 469,605 households or 88.1% of its pre-Katrina levels. While the area's population has been on an upward trajectory since the storm, much of that growth was attributed to residents returning after Katrina. Many observers predicted that growth would taper off, but the data center's analysis suggests that New Orleans and the surrounding parishes are benefiting from an economic migration resulting from the global financial crisis of 2008–2009.

Religion

New Orleans is notably absent from the Protestant Bible Belt that dominates religion in the Southern United States. In New Orleans and the surrounding Louisiana Gulf Coast area, the predominant religion is Catholicism. Within the Archdiocese of New Orleans (which includes not only the city but the surrounding Parishes as well), 35.9% percent of the population is Roman Catholic. The influence of Catholicism is reflected in many of the city's French and Spanish cultural traditions, including its many parochial schools, street names, architecture, and festivals, including Mardi Gras.

New Orleans also famously has a presence of its distinctive variety of Louisiana Voodoo, due in part to syncretism with Roman Catholic beliefs, the fame of voodoo practitioner Marie Laveau, and New Orleans' distinctly Caribbean cultural influences. Although the exotic image of Voodoo within the city has been highly promoted by the tourism industry, there are only a small number of serious adherents to the religion.

New Orleans' pre-Katrina population of 10,000 Jews has now dropped to 7,000. In the wake of Katrina, all New Orleans synagogues lost members, but were able to re-open in their original locations, except for Congregation Beth Israel, the oldest and most prominent Orthodox synagogue in the New Orleans region. Beth Israel's building in Lakeview was destroyed by flooding, and it is currently in temporary quarters in Metairie.

Government

New Orleans has a mayor-council government. The city council consists of seven council members, who are elected by district and two at-large councilmembers. The current mayor, Mitch Landrieu, was elected on February 6, 2010 and assumed office on May 3, 2010. The Orleans Parish Civil Sheriff's Office serves papers involving lawsuits and provides security for the Civil District Court and Juvenile Courts. The Criminal Sheriff, Marlin Gusman, maintains the parish prison system, provides security for the Criminal District Court, and provides backup for the New Orleans Police Department on an as-needed basis.

The city of New Orleans and the parish of Orleans operate as a merged city-parish government. Before the city of New Orleans became co-extensive with Orleans Parish, Orleans Parish was home to numerous smaller communities. The original city of New Orleans was composed of what are now the 1st through 9th wards. The city of Lafayette (including the Garden District) was added in 1852 as the 10th and 11th wards. In 1870, Jefferson City, including Faubourg Bouligny and much of the Audubon and University areas, was annexed as the 12th, 13th, and 14th wards. Algiers, on the west bank of the Mississippi, was also annexed in 1870, becoming the 15th ward.

New Orleans' government is now largely centralized in the city council and mayor's office, but it maintains a number of relics from earlier systems when various sections of the city ran much of their affairs separately. For example, New Orleans has seven elected tax assessors, each with their own staff, representing various districts of the city, rather than one centralized office. A constitutional amendment passed on November 7, 2006, will consolidate the seven assessors into one by 2010. On February 18, 2010, Errol Williams was elected as the first city-wide assessor. The New Orleans government operates both a fire department and the New Orleans Emergency Medical Services.

Federal representation

The United States Postal Service operates post offices in New Orleans. The New Orleans Main Post Office is at 701 Loyola Avenue in the Central Business District.

Crime and safety

Crime has been recognized as an ongoing problem for New Orleans, although the issue is outside the view of most visitors to the city: as in other cities in the United States of comparable size, the incidence of homicide and other violent crimes is highly concentrated in certain impoverished neighborhoods, such as housing projects.

Across New Orleans, homicides peaked in 1994 at 86 murders per 100,000 residents. By 2009, despite a 17% decrease in violent crime in the city, the homicide rate remained among the highest in the United States, at between 55 and 64 per 100,000 residents.

The violent crime rate was also a key issue in the city's 2010 mayoral race. In January 2007, several thousand New Orleans residents marched through city streets and gathered at City Hall for a rally demanding police and city leaders tackle the crime problem. Mayor Ray Nagin said he was "totally and solely focused" on addressing the problem. Later, the city implemented checkpoints during late night hours in problem areas.

Education

Schools

New Orleans Public Schools (NOPS) is the name given to the city's public school system. Pre-Katrina, NOPS was one of the area's largest systems (along with the Jefferson Parish public school system). In the years leading up to Hurricane Katrina, the New Orleans public school system was widely recognized as the lowest performing school district in Louisiana. According to researchers Carl L. Bankston and Stephen J. Caldas, only 12 of the 103 public schools within the city limits of New Orleans showed reasonably good performance at the beginning of the 21st century.

Following Hurricane Katrina, the state of Louisiana took over most of the schools within the system (all schools that fell into a nominal "worst-performing" metric); many of these schools, in addition to others that were not subject to state takeover, were subsequently granted operating charters giving them administrative independence from the Orleans Parish School Board, the Recovery School District and/or the Louisiana Board of Elementary and Secondary Education (BESE). Presently, the majority of public school students in the NOPS system attend these independent public charter schools, the highest percentage in the nation.

The last few years have witnessed significant and sustained gains in student achievement, as outside operators like KIPP, the Algiers Charter School Network, and the Capital One - University of New Orleans Charter School Network have assumed control of dozens of schools. The most recent release of annual school performance scores (October 2009) demonstrated continued growth in the academic performance of New Orleans' public schools. If the scores of all public schools in New Orleans (Orleans Parish School Board-chartered, Recovery School District-chartered, Recovery School District-operated, etc.) are considered, an overall school district performance score of 70.6 results. This score represents a 6% increase over an equivalent 2008 metric, and a 24% improvement when measured against an equivalent pre-Katrina (2004) metric, when a district score of 56.9 was posted. Notably, this score of 70.6 approaches the score (78.4) posted in 2009 by the adjacent, suburban Jefferson Parish public school system, though that system's performance score is itself below the state average of 91.

This longstanding pattern is changing, however, as the NOPS system is engaged in the most promising and far-reaching public school reforms in the nation, reforms aimed at decentralizing power away from the pre-Katrina school board central bureaucracy to individual school principals and independent public charter school boards, monitoring charter school performance by granting renewable, five-year operating contracts permitting the closure of those not succeeding, and vesting choice in parents of public schools students, allowing them to enroll their children in almost any school in the district.

Colleges and universities

A large number of institutions of higher education exist within the city, including Tulane University and Loyola University New Orleans, the city's major private universities. These universities also administer the city's three professional schools, Tulane University School of Medicine, Tulane University Law School and Loyola University New Orleans College of Law. The University of New Orleans is a large public research university in the city. Dillard University, Southern University at New Orleans and Xavier University of Louisiana are among some of the leading historically black colleges and universities in the United States (Xavier being the only predominantly black Catholic university in the U.S.) Louisiana State University School of Medicine is the state's flagship public university medical school, which also conducts research. Our Lady of Holy Cross College, Notre Dame Seminary and the New Orleans Baptist Theological Seminary are several smaller religiously affiliated universities. Other notable schools include Delgado Community College, the William Carey College School of Nursing, the Culinary Institute of New Orleans, Herzing College, and Commonwealth University.

Libraries

There are numerous academic and public libraries and archives in New Orleans, including Monroe Library at Loyola University, Howard-Tilton Memorial Library at Tulane University, the Law Library of Louisiana, and the Earl K. Long Library at the University of New Orleans.

The New Orleans Public Library includes 13 locations, most of which were damaged by Hurricane Katrina. However, only four libraries remained closed in 2007. The main library includes a Louisiana Division housing city archives and special collections.

Other research archives are located at the Historic New Orleans Collection and the Old U.S. Mint.

An independently operated lending library called Iron Rail Book Collective specializes in radical and hard-to-find books. The library contains over 8,000 titles and is open to the public. It was the first library in the city to re-open after Hurricane Katrina.

The Louisiana Historical Association was founded in New Orleans in 1889. It operated first at Howard Memorial Library. Then its own Memorial Hall was added to Howard Library. The design for the new building was undertaken by the New Orleans architect Thomas Sully.

Transportation

Streetcars

New Orleans has three active streetcar lines. The St. Charles line is the oldest continuously operating streetcar line in America and each car is a historic landmark. The Riverfront line runs parallel to the river from Esplanade Street through the French Quarter to Canal Street to the Convention Center above Julia Street in the Arts District. The Canal Street line uses the Riverfront line tracks from the intersection of Canal Street and Poydras Street, down Canal Street, then branches off and ends at the cemeteries at City Park Avenue, with a spur running from the intersection of Canal and Carrollton Avenue to the entrance of City Park at Esplanade, near the entrance to the New Orleans Museum of Art.

The city's streetcars were also featured in the Tennessee Williams play, ''A Streetcar Named Desire''. The streetcar line to Desire Street became a bus line in 1948. There are proposals to revive a Desire streetcar line, running along the neutral grounds of North Rampart and St. Claude, as far downriver as Poland Avenue, near the Industrial Canal.

Hurricane Katrina destroyed the power lines supplying the St. Charles Avenue line. The associated levee failures flooded the Mid-City facility storing the red streetcars which normally run on the Riverfront and Canal Street lines. Restoration of service has been gradual, with vintage St. Charles line cars running on the Riverfront and Canal lines until the more modern Czech-built red cars are back in service; they are being individually restored at the RTA's facility in the Carrollton neighborhood. On December 23, 2007, streetcars were restored to running on the St. Charles line up to Carrolton Avenue. The much-anticipated re-opening of the second portion of the historic route, which continues until the intersection of Carrolton Avenue and Claiborne Avenue, was commemorated on June 28, 2008.

Bicycling

The City's flat landscape, simple street grid, and mild winters, facilitate bicycle ridership, helping to make New Orleans 8th among U.S. cities in its rate of bicycle and pedestrian transportation, and 6th in terms of the percentage of bicycling commuters. Also, the City's bicyclists benefit from being located at the start of the Mississippi River Trail, a bicycle path that stretches from the City's Audubon Park to Minnesota. The first of the path, through Destrehan, Louisiana, is paved with a smooth macadam surface. Bicyclists looking to cross the River have free access to the City's ferries. Since the 2005 levee-breach, the City has actively sought to promote bicycling by constructing a $1.5 million bike trail from Mid-City to Lake Pontchartrain, and by adding over of bicycle lanes to various streets, including St. Charles Avenue. In 2009, Tulane University contributed to these efforts by converting the main street through its Uptown campus, McAlister Place, into a pedestrian mall opened to bicycle traffic. In 2010, work began to add a 3.1-mile (5 km) bicycle corridor from the French Quarter to Lakeview, and 14 miles (23 km) of additional bike lanes on existing streets. New Orleans has also been recognized as a place with an abundance of uniquely decorated and uniquely designed bicycles.

Buses

Public transportation in the city is operated by the New Orleans Regional Transit Authority ("RTA"). There are many bus routes connecting the city and suburban areas. The RTA lost 200+ buses due to Hurricane Katrina, this would mean that there would be a 30-60 minute waiting period for the next bus to come to the bus stop, and the streetcars took until 2008 to return, so the RTA placed an order for 38 Orion VII Next Generation clean diesel buses, which arrived in July 2008. The RTA has these new buses running on biodiesel. The Jefferson Parish Department of Transit Administration operates Jefferson Transit, which provides service between the city and its suburbs.

Roads

New Orleans proper is served by Interstate 10, Interstate 610 and Interstate 510. I-10 travels east-west through the city as the Pontchartrain Expressway. In the far eastern part of the city, New Orleans East, it is known as the Eastern Expressway. I-610 provides a direct shortcut for traffic passing through New Orleans via I-10, allowing that traffic to bypass I-10's southward curve. In the future, New Orleans will have another interstate highway, Interstate 49, which will be extended from its current terminus in Lafayette to the city.

In addition to the interstate highways, U.S. 90 travels through the city, while U.S. 61 terminates in the city's downtown center. In addition, U.S. 11 terminates in the eastern portion of the city.

New Orleans is home to many bridges, the tolled Crescent City Connection is perhaps the most notable. It serves as New Orleans' major bridge across the Mississippi River, providing a connection between the city's downtown on the eastbank and its westbank suburbs. Other bridges that cross the Mississippi River in the New Orleans area are the Huey P. Long Bridge, over which U.S. 90 travels, and the Hale Boggs Memorial Bridge, which carries Interstate 310.

The Twin Span Bridge, a five-mile (8 km) causeway in eastern New Orleans, carries I-10 across Lake Pontchartrain. Also in eastern New Orleans, Interstate 510/LA 47 travels across the Intracoastal Waterway/Mississippi River-Gulf Outlet Canal via the Paris Road Bridge, connecting New Orleans East and suburban Chalmette.

The tolled Lake Pontchartrain Causeway, consisting of two parallel bridges are, at long, the longest bridges in the world. Built in the 1950s (southbound span) and 1960s (northbound span), the bridges connect New Orleans with its suburbs on the north shore of Lake Pontchartrain via Metairie.

Airports

The metropolitan area is served by the Louis Armstrong New Orleans International Airport, located in the suburb of Kenner. New Orleans also has several regional airports located throughout the metropolitan area. These include the Lakefront Airport, Naval Air Station Joint Reserve Base New Orleans (locally known as Callendar Field) in the suburb of Belle Chasse and "Southern Seaplane", also located in Belle Chasse. Southern Seaplane has a runway for wheeled planes and a water runway for seaplanes. New Orleans International suffered some damage as a result of Hurricane Katrina, but as of April 2007, it contained the most traffic and is the busiest airport in the state of Louisiana and the sixth busiest in the Southeast.

Rail

The city is served by rail via Amtrak. The New Orleans Union Passenger Terminal is the central rail depot, and is served by three trains: the ''Crescent'', operating between New Orleans and New York City; the ''City of New Orleans'', operating between New Orleans and Chicago; and the ''Sunset Limited'', operating through New Orleans between Orlando and Los Angeles. From late August 2005 to the present, the Sunset Limited has remained officially a Orlando-to-Los Angeles train, being considered temporarily truncated due to the lingering effects of Hurricane Katrina. At first (until late October 2005) it was truncated to a San Antonio-to-Los Angeles service; since then (from late October 2005 on) it has been truncated to a New Orleans-to-Los Angeles service. As time has passed, particularly since the January 2006 completion of the rebuilding of damaged tracks east of New Orleans by their owner, CSX Transportation, the obstacles to restoration of the Sunset Limited's full route have been more managerial and political than physical.

With the strategic benefits of both a major international port and one of the few double-track Mississippi River crossings, the city is served by six of the seven Class I railroads in North America: Union Pacific Railroad, BNSF Railway, Norfolk Southern Railway, Kansas City Southern Railway, CSX Transportation and Canadian National Railway. The New Orleans Public Belt Railroad provides interchange services between the railroads.

Recently, many have proposed extending New Orleans' public transit system by adding light rail routes from downtown, along Airline Highway through the airport to Baton Rouge and from downtown to Slidell and the Mississippi Gulf Coast. Proponents of this idea claim that these new routes would boost the region's economy, which has been badly damaged by Hurricane Katrina, and serve as an evacuation option for hospital patients out of the city.

Algiers Ferry

The Canal Street Ferry connects the heart of New Orleans with the neighborhood of Algiers Point on the other side of the Mississippi River, and also services Gretna, Louisiana through a separate route. This service has been in continuous operation since 1827. Bicyclists and pedestrians ride for free, while automobiles are charged a fee. Service is from 6 am until midnight.

Sister cities

New Orleans has ten sister cities:

Caracas, Venezuela Durban, South Africa Innsbruck, Austria Juan-les-Pins, France Maracaibo, Venezuela Matsue, Shimane, Japan Mérida, Yucatán, Mexico Pointe-Noire, Republic of the Congo San Miguel de Tucumán, Argentina Tegucigalpa, Honduras

Nicknames

The city's several nicknames are illustrative: ''Crescent City'' alludes to the course of the Lower Mississippi River around and through the city. ''The Big Easy'' was possibly a reference by musicians in the early 20th century to the relative ease of finding work there. It also may have originated in the Prohibition era, when the city was considered one big speak-easy due to the inability of the federal government to control alcohol sales in open violation of the 18th Amendment. The term was used by local columnist Betty Gillaud in the 1970s to contrast life in the city to that of New York City. The name also refers to New Orleans' status as a major city, at one time "one of the cheapest places in America to live." ''The City that Care Forgot'' has been used since at least 1938, and refers to the outwardly easy-going, carefree nature of many of the residents.

''America's Most Interesting City'' appears on welcome signs at the city limits.

''Hollywood South'' is a reference to the large number of films, big and small, shot in the city since 2002. Since 2005 the nickname has also frequently been applied to Shreveport, in northwestern Louisiana, which became an important location for movie and television production after Hurricane Katrina displaced shooting in New Orleans. ''The Northernmost Caribbean City'' is a reference from ''The Boston Globe'', as well as other travel guides due in part to the similarities of culture with the Caribbean islands.

See also

''Hurricane on the Bayou'' (film)

Île d'Orléans, Louisiana

List of National Historic Landmarks in Louisiana

List of people from New Orleans, Louisiana

Mississippi Suite, the fourth movement is an orchestral portrayal of Mardi Gras of the streets of the French Quarter

National Register of Historic Places listings in Orleans Parish, Louisiana

New Orleans in fiction

Orléans, France

USS ''Orleans Parish'' (LST-1069)

References

External links

Official Website of the City of New Orleans

Official Tourism Website of the City of New Orleans

New Orleans travel guide by Wikitravel

History of New Orleans

New Orleans Collection, 1770–1904 from the New-York Historical Society

New Orleans PodCasting – Listen to the voices that are rebuilding New Orleans

A sampling of New Orleans music including jazz, R&B;, rock and roll, funk, and brass band

New Orleans Cemeteries aka "The Cities of the Dead"

Army Corps of Engineers' New Orleans Risk and Reliability Report – Interactive map showing flood risk

Geology and Hurricane-Protection Strategies in the Greater New Orleans Area Louisiana Geological Survey publication on geology of New Orleans

Live Emergency Scanner Feeds Online

Who's Killing New Orleans? - ''City Journal''

New Orleans Jazz And Heritage Festival

Category:Populated places established in 1718 Louisiana Category:Greater New Orleans Category:Cities in Louisiana Category:Consolidated city–counties in the United States Category:Port settlements in the United States Category:Populated places in Louisiana with African American majority populations Category:Parish seats in Louisiana Category:Dry areas below sea level Category:Polders Category:Louisiana populated places on the Mississippi River Category:Louisiana parishes on the Mississippi River

af:New Orleans ar:نيو أورلينز، لويزيانا ast:Nueva Orleans bn:নিউ অরলিন্স zh-min-nan:New Orleans be:Горад Новы Арлеан bar:New Orleans bs:New Orleans br:New Orleans bg:Ню Орлиънс ca:Nova Orleans cv:Çĕнĕ Орлеан cs:New Orleans cy:New Orleans da:New Orleans de:New Orleans et:New Orleans el:Νέα Ορλεάνη es:Nueva Orleans eo:Nov-Orleano ext:Nueva Orleans eu:New Orleans fa:نیواورلئان fo:New Orleans fr:La Nouvelle-Orléans fy:New Orleans (stêd) ga:New Orleans gl:Nova Orleáns - New Orleans, Luisiana ko:뉴올리언스 hi:न्यू ओर्लियंस hr:New Orleans, Louisiana io:Nov-Orleans bpy:ওরলেন্স পারিশ, লুইসিয়ানা id:New Orleans ia:New Orleans ie:New Orleans os:Ног Орлеан is:New Orleans it:New Orleans he:ניו אורלינס kn:ನ್ಯೂ ಒರ್ಲೀನ್ಸ್ ka:ახალი ორლეანი sw:New Orleans ht:New Orleans, Lwizyana mrj:У Орлеан la:Nova Aurelia lv:Ņūorleāna lb:New Orleans lt:Naujasis Orleanas hu:New Orleans mk:Њу Орлеанс mr:न्यू ऑर्लिन्स mn:Нью-Орлеанс nl:New Orleans (stad) nds-nl:Niej Orleans ja:ニューオーリンズ no:New Orleans nn:New Orleans pnb:اورلینز پارش nds:New Orleans pl:Nowy Orlean pt:Nova Orleães ro:New Orleans qu:New Orleans (Louisiana) ru:Новый Орлеан sc:New Orleans sq:New Orleans scn:New Orleans simple:New Orleans, Louisiana sk:New Orleans sl:New Orleans sr:Њу Орлеанс fi:New Orleans sv:New Orleans ta:நியூ ஓர்லென்ஸ் th:นิวออร์ลีนส์ tr:New Orleans uk:Новий Орлеан ug:Yéngi Orléan vec:New Orleans vi:New Orleans vo:New Orleans war:New Orleans yo:New Orleans zh:新奥尔良

Coordinates	29°57′53″N90°4′14″N
name	Gary U.S. Bonds
background	solo_singer
birth name	Gary Levone Anderson
born	June 06, 1939Jacksonville, Florida
instrument	Vocals
official website	www.garyusbonds.com }}

Gary U.S. Bonds (born Gary Levone Anderson, June 6, 1939, Jacksonville, Florida) is an American rhythm and blues and rock and roll singer. He is also a prolific songwriter.

Career

Born in Jacksonville, Florida Bonds was living in Norfolk, Virginia, in the 1950s when he began singing publicly in church, and with a group called The Turks. He joined record producer Frank Guida's small Legrand Records label, and Guida changed Anderson's name to U.S. Bonds in hope that it would be confused with a Public Service Announcement advertising the sale of government bonds and thus get more radio airplay. His first three singles and first album ''Dance 'Til Quarter to Three'' were released under the "U.S. Bonds" name, but people mistook it for the name of a group, so to avoid the confusion subsequent releases, including his second album ''Twist Up Calypso'', were released under the name Gary (U.S.) Bonds; the parentheses were discarded in the 1980s.

Bonds's first hit was the song "New Orleans" (reached #6), which was followed by "Not Me", a flop for Bonds but later a hit for The Orlons, and then by his only number one hit, "Quarter to Three" in June 1961. "Quarter To Three" sold one million records, earning a gold disc. Subsequent hits, under his modified name, included "School Is Out" (#5), "Dear Lady Twist" (#9), "School Is In" (#28) and "Twist, Twist, Señora" (#10) in the early 1960s. In a 1963 tour of Europe, he headlined above The Beatles. His hits often featured solos by the saxophonist Gene Barge.

"Quarter to Three" appears on The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.

In the early 1980s, Bonds had a career resurgence with two albums ''Dedication'' and ''On the Line'', working off collaborations with Bruce Springsteen, Steven Van Zandt, and the E Street Band. Later hits included "This Little Girl" (his comeback hit in 1981, which reached #11 on the pop chart and #5 on the mainstream rock chart), "Jolé Blon" and "Out of Work". Bonds continues to release albums sporadically, and today is a mainstay of the nostalgia concert circuit.

While Bonds is mostly known for achievements within rhythm and blues and rock and roll, he often transcends these genres, e.g. his song "She's All I Got", co-written by Jerry Williams, Jr. (better known as Swamp Dogg), was nominated for the Country Music Association's "Song of the Year" in 1972 when it was a big hit for Johnny Paycheck. He is also an honoree of the Rhythm & Blues Foundation. Bonds is an accomplished golfer and often plays celebrity PGA Tour events.

Bonds released an album in 2004 called ''Back in 20'', the title referencing his repeated sporadic pop-ups of popularity (his first hits were in the 1960s, then again in the 1980s, and now another significant album in the early 2000s, each 20-odd years apart). The album features guest appearances by Bruce Springsteen and Southside Johnny. Bonds was also inducted into the Long Island Music Hall of Fame on October 15, 2006.

In 2009 he released a new album ''Let Them Talk'' and toured the UK as a special guest of Bill Wyman's Rhythm Kings. Most recently, in 2010, Bonds contributed duet vocals on the song "Umbrella In My Drink" on Southside Johnny's album ''Pills and Ammo''.

Discography

Studio albums:

Dance 'Til Quarter To Three (1961)

Twist Up Calypso (1962)

Dedication (1981)

On the Line (1982)

Standing In the Line of Fire (1984)

Nothing Left To Lose (1996)

Back In 20 (2004)

Let Them Talk (2009)

Live albums:

King Biscuit Flower Hour (Live) (2001)

Live! (2002)

From the Front Row... Live! (2003)

In Concert (2005)

Compilations:

The Best of Gary U.S. Bonds (60's Material) (1990)

Take Me Back To New Orleans (60's Singles Compilation) (1994)

The Best of Gary U.S. Bonds (80's Material) (1996)

The Very Best of Gary U.S. Bonds: The Original Legrand Masters (60's Material) (1998)

Certified Soul (Singles from 1968–1970) (2008)

Billboard's Hot 100

! Title	! Position	! Year
"New Orleans"	#6	1960*
"Quarter to Three"	#1	1961*
"School Is Out"	#5	1961*
"School Is In"	#28	1961*
"Dear Lady Twist"	#9	1961*
"Twist Twist Señora"	#10	1962*
"Seven Day Weekend"	#27	1962*
"Copy Cat"	#92	1962*
"This Little Girl"	#11	1981
"Jolé Blon"	#65	1981
"Out of Work"	#21	1982

:^* Produced by Frank Guida. over the past 15 years

Philanthropy and humanitarianism

Gary is a member of Global Village Champions Foundation. Global Village Champions has provided over 417 million meals over the past 17 years. Gary's was presented with the Global Village Champion of the Decade award in 2009.

References

External links

Official website

Category:1939 births Category:Living people Category:African American singers Category:American rock singers Category:American rhythm and blues singer-songwriters Category:American rock singer-songwriters Category:People from Jacksonville, Florida Category:Sue Records artists

de:Gary U. S. Bonds fr:Gary U.S. Bonds

:''For the Canadian radio personality with the same name, see Billie Holiday (broadcaster)''

Coordinates	29°57′53″N90°4′14″N
name	Billie Holiday
background	solo_singer
birth name	Eleanora Fagan
alias	Lady Day
birth date	April 07, 1915
birth place	Philadelphia, Pennsylvania, United States
death date	July 17, 1959
death place	New York City, New York, U.S.
origin	Harlem, New York, U.S.
instrument	Vocals
genre	Vocal jazz, jazz blues, torch songs, swing
occupation	Singer, songwriter
years active	1933–1959
label	Brunswick, Vocalion, Okeh, Bluebird, Commodore, Capitol, Decca, Aladdin, Verve, Columbia, MGM
associated acts	Ella Fitzgerald, Sarah Vaughan, Lena Horne
website	Billie Holiday Official Site }}

Billie Holiday (born Eleanora Fagan, April 7, 1915 – July 17, 1959) was an American jazz singer and songwriter. Nicknamed "Lady Day" by her friend and musical partner Lester Young, Holiday had a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo.

Critic John Bush wrote that Holiday "changed the art of American pop vocals forever." She co-wrote only a few songs, but several of them have become jazz standards, notably "God Bless the Child", "Don't Explain", "Fine and Mellow", and "Lady Sings the Blues". She also became famous for singing "Easy Living", "Good Morning Heartache", and "Strange Fruit", a protest song which became one of her standards and was made famous with her 1939 recording.

Early life and education

Billie Holiday was born Eleanora Fagan on April 7, 1915, in Philadelphia, Pennsylvania, to Sarah Julia "Sadie" Fagan (née Harris). Her father, Clarence Halliday (Holiday), a musician, did not marry or live with her mother. Her mother had moved to Philadelphia when thirteen, after being ejected from her parents' home in Sandtown-Winchester, Baltimore for becoming pregnant. With no support from her own parents, Holiday's mother arranged for the young Holiday to stay with her older married half sister, Eva Miller, who lived in Baltimore. Billie Holiday had a difficult childhood, her mother often took what were then known as "transportation jobs", serving on the passenger railroads. Holiday was left to be raised largely by Eva Miller's mother-in-law, Martha Miller, and suffered from her mother's absences and leaving her in others' care for much of the first ten years of her life. (Holiday's autobiography, ''Lady Sings the Blues'', first published in 1956, was sketchy about details of her early life, but much was confirmed by Stuart Nicholson in his 1995 biography of the singer.)

Some historians have disputed Holiday's paternity, as a copy of her birth certificate in the Baltimore archives lists the father as "Frank DeViese". Other historians consider this an anomaly, probably inserted by a hospital or government worker. Frank DeViese lived in Philadelphia and Sadie Harris may have known him through her work.

Sadie Harris, then known as Sadie Fagan, married Philip Gough, but the marriage was over in two years. Holiday was left with Martha Miller again while her mother took further transportation jobs. Holiday frequently skipped school and her truancy resulted in her being brought before the juvenile court on January 5, 1925 when she was not yet 10. She was sent to The House of the Good Shepherd, a Catholic reform school. She was baptized there on March 19, 1925 and after nine months in care, was "paroled" on October 3, 1925 to her mother, who had opened a restaurant called the East Side Grill, where she and Holiday worked long hours. By the age of 11, the girl had dropped out of school.

Holiday's mother returned to their home on December 24, 1926, to discover a neighbor, Wilbur Rich, raping Holiday. Rich was arrested. Officials placed the girl at the House of the Good Shepherd in protective custody as a state witness in the rape case. Holiday was released in February 1927, nearly 12. Holiday and her mother wound up living with and working for a madam. During this time, Holiday first heard the records of Louis Armstrong and Bessie Smith. By the end of 1928, Holiday's mother decided to try her luck in Harlem, New York and left Holiday again with Martha Miller.

Early singing career

During her final period of separation from her mother, Holiday began to perform the songs she learned while working in the brothel. By early 1929, Holiday joined her mother in Harlem. Their landlady was a sharply dressed woman named Florence Williams, who ran a whorehouse at 151 West 140th Street. In order to live, Holiday's mother became a prostitute and, within a matter of days of arriving in New York, Holiday, who had not yet turned fourteen, also became a prostitute for $5 a time. On May 2, 1929, the house was raided, and Holiday and her mother were sent to prison. After spending some time in a workhouse, her mother was released in July, followed by Holiday in October, at the age of 14.

Holiday took her professional pseudonym from Billie Dove, an actress she admired, and the musician Clarence Holiday, her probable father. At the outset of her career, she spelled her last name ''Halliday'', the birth-surname of her father, but eventually changed it to ''Holiday'', his performing name. The young singer teamed up with a neighbor, tenor sax player Kenneth Hollan. From 1929 to 1931, they were a team, performing at clubs such as the Grey Dawn, Pod's and Jerry's, and the Brooklyn Elks' Club. Benny Goodman recalled hearing Holiday in 1931 at The Bright Spot. As her reputation grew, Holiday played at many clubs, including Mexico's and The Alhambra Bar and Grill where Charles Linton, a vocalist who later worked with Chick Webb, first met her. It was also during this period that she connected with her father, who was playing with Fletcher Henderson's band.

By the end of 1932 at the age of 17, Billie Holiday replaced the singer Monette Moore at a club called Covan's on West 132nd Street. The producer John Hammond, who loved Monette Moore's singing and had come to hear her, first heard Holiday in early 1933. Hammond arranged for Holiday to make her recording debut, at age 18, in November 1933 with Benny Goodman, singing two songs: "Your Mother's Son-In-Law" and "Riffin' the Scotch", the latter being her first major hit. "Son-in-Law" sold 300 copies, but "Riffin' the Scotch," released on November 11, sold 5,000 copies.

Holiday returned to the studio in 1935 with Goodman and a group led by pianist Teddy Wilson. Their first collaboration included "What a Little Moonlight Can Do," and "Miss Brown To You." The record label did not favor the recording session, because producers wanted Holiday to sound more like Cleo Brown, an established jazz singer. After "What a Little Moonlight Can Do" garnered success, however, the company began considering Holiday an artist in her own right. She began recording under her own name a year later (on the 35 cent Vocalion label), producing a series of extraordinary performances with groups comprising the swing era's finest musicians. In 1935, Billie Holiday had a small role as a woman being abused by her lover in Duke Ellington's short ''Symphony in Black: A Rhapsody of Negro Life''. In her scene, she sang the song "Saddest Tale."

Holiday was signed to Brunswick Records by John Hammond to record current pop tunes with Teddy Wilson in the new "swing" style for the growing jukebox trade. They were given free rein to improvise the material. Holiday's improvisation of the melody line to fit the emotion was revolutionary. With their arrangements, Wilson and Holiday took pedestrian pop tunes, such as "Twenty-Four Hours a Day" (#6 Pop) or "Yankee Doodle Never Went To Town", and turned them into jazz classics. Most of Holiday's recordings with Wilson or under her own name during the 1930s and early 1940s are regarded as important parts of the jazz vocal library. She was then in her early to late 20s.

Another frequent accompanist was the tenor saxophonist Lester Young, who had been a boarder at her mother's house in 1934 and with whom Holiday had a special rapport. He said,

"Well, I think you can hear that on some of the old records, you know. Some time I'd sit down and listen to 'em myself, and it sound like two of the same voices, if you don't be careful, you know, or the same mind, or something like that."

Young nicknamed her "Lady Day", and she, in turn, dubbed him "Prez". She did a three-month residency at Clark Monroe's Uptown House in New York in 1937. In the late 1930s, Holiday had brief stints as a big band vocalist with Count Basie (1937) and Artie Shaw (1938). The latter association placed her among the first black women to work with a white orchestra, an unusual arrangement for the times.

By the late 1930s, Billie Holiday had toured with Count Basie and Artie Shaw, scored a string of radio and retail hits with Teddy Wilson, and became an established artist in the recording industry. Her songs "What A Little Moonlight Can Do" and "Easy Living" were being imitated by singers across America and were quickly becoming jazz standards. In 1938, Holiday's single "I'm Gonna Lock My Heart" ranked 6th as the most-played song for September of that year. Her record label Vocalion listed the single as its fourth best seller for the same month. "I'm Gonna Lock My Heart" peaked at number 2 on the pop charts according to Joel Whitburn's "Pop Memories: 1890-1954" book.

Commodore recordings and mainstream success (1939)

Holiday was recording for Columbia in the late 1930s when she was introduced to "Strange Fruit", a song based on a poem about lynching written by Abel Meeropol, a Jewish schoolteacher from the Bronx. Meeropol used the pseudonym "Lewis Allan" for the poem, which was set to music and performed at teachers' union meetings. It was eventually heard by Barney Josephson, proprietor of Café Society, an integrated nightclub in Greenwich Village, who introduced it to Holiday. She performed it at the club in 1939, with some trepidation, fearing possible retaliation. Holiday later said that the imagery in "Strange Fruit" reminded her of her father's death and that this played a role in her resistance to performing it.

When Holiday's producers at Columbia found the subject matter too sensitive, Milt Gabler agreed to record it for his Commodore Records. That was done on April 20, 1939, and "Strange Fruit" remained in her repertoire for twenty years. She later recorded it again for Verve. While the Commodore release did not get any airplay, the controversial song sold well, though Gabler attributed that mostly to the record's other side, "Fine and Mellow", which was a jukebox hit. "The version I did for Commodore," Holiday said of "Strange Fruit", "became my biggest selling record." "Strange Fruit" was the equivalent of a top twenty hit in the 1930s.

For her performance of "Strange Fruit" at the Café Society, she had waiters silence the crowd when the song began. During the song's long introduction, the lights dimmed and all movement had to cease. As Holiday began singing, only a small spotlight of light illuminated her face. On the final note, all lights in the club went out and when they came back on, Holiday was gone.

Holiday said her father Clarence Holiday was denied treatment for a fatal lung disorder because of prejudice and that singing "Strange Fruit" reminded her of the incident. "It reminds me of how pop died, but I have to keep singing it, not only because people ask for it, but because twenty years after Pop died the things that killed him are still happening in the south," she said in her autobiography.

Holiday's popularity increased after recording "Strange Fruit". She received a mention in ''Time'' magazine. "I open Café Society as an unknown," Holiday said. "I left two years later as a star. I needed the prestige and publicity all right, but you can't pay rent with it." Holiday demanded her manager Joe Glaser give her a raise shortly after.

Holiday soon returned Commodore in 1944, recording songs she made with Teddy Wilson in the 1930s like "I Cover The Waterfront", "I'll Get By", and "He's Funny That Way". She also recorded new songs that were popular at the time, including, "My Old Flame", "How Am I To Know?", "I'm Yours", and "I'll Be Seeing You", a Bing Crosby number one hit. She also recorded her version of "Embraceable You", which would later be inducted into the Grammy Hall of Fame in 2005.

During her time at Commodore, Billie Holiday also babysat the young Billy Crystal; his father being Jack Crystal and uncle being Milt Gabler, the co-founders of Commodore Records.

Successes (1940–1947)

Holiday's mother Sadie Fagan, nicknamed "The Duchess," started her own restaurant called Mom Holiday's. Fagan used the money her daughter earned while shooting dice with members of the Count Basie band, whom she was on tour with in the late 1930s. "It kept mom busy and happy and stopped her from worrying and watching over me," Holiday said. Soon, Fagan began borrowing large amounts of money from Holiday because the restaurant wasn't turning a profit. Holiday obliged, but soon fell upon hard times herself. "I needed some money one night and I knew Mom was sure to have some," Holiday said. "So I walked in the restaurant like a stockholder and asked. Mom turned me down flat. She wouldn't give me a cent." The two argued and then, Holiday, in a rage, hollered "God bless the child that's got his own," and stormed out of the restaurant. With help from Arthur Herzog, Jr., a pianist, the two wrote a song based on the line "God Bless the Child" and added music.

"God Bless the Child" became Holiday's most popular and covered record. It reached number 25 on the record charts in 1941 and ranked third in Billboard's top songs of the year, selling over a million records. In 1976, the song was added to the Grammy Hall of Fame. Herzog later claimed that Holiday contributed little to the lyrics of her music, adding only a few lines. He also stated that Holiday came up with the line "God Bless the Child" from a dinner conversation the two had.

On June 24, 1942, Holiday recorded "Trav'lin Light" with Paul Whiteman. Because she was still under contract with Columbia records, she couldn't release the song under her own name and instead used the pseudonym "Lady Day." The song was a minor success on the pop charts, reaching number 23, but hit number one on the R&B; charts, which were called the Harlem Hit Parade at the time.

In September 1943, ''Life'' magazine complimented Holiday on her work. They wrote, "she has the most distinct style of any popular vocalist and is imitated by other vocalists."

Milt Gabler eventually became an A&R; man for Decca Records, in addition to owning Commodore Records, and he signed Holiday to the label on August 7, 1944, when Holiday was 29. Her first recording for Decca was "Lover Man" (#16 Pop, #5 R&B;), one of her biggest hits. The success and wide distribution of the song made Holiday a staple in the pop community, allowing her to have her own solo concerts, a rarity for jazz singers in the late 40s. Gabler commented on the song's success, saying, "I made Billie a real pop singer. That was right in her. Billie loved those songs." Jimmy Davis and Roger "Ram" Ramirez, "Lover Man"'s songwriters, tried to get Holiday interested in recording the song in 1941, but she didn't take interest. In 1943, a flamboyant male torch singer by the name of Willie Dukes began singing "Lover Man" on 52nd Street. Because of Duke's success with the song, Holiday decided to add it to her live shows. The song's B-side is "No More", a song Holiday considered one of her favorites.

When it came time to record the song, Holiday begged Gabler for strings, which were associated with big name acts like Frank Sinatra and Ella Fitzgerald, to accompany her in the background. "I went on my knees to him," Holiday said. "I didn't want to do it with the ordinary six pieces. I begged Milt and told him I had to have strings behind me." On October 4, 1944, Holiday walked into the recording studio to record "Lover Man" and saw the string ensemble and walked out. The musical director for the session, Toots Camarata said she was overwhelmed with joy. Another reason for Holiday wanting to use strings may have been to dodge the comparisons made between her commercially successful early work with Teddy Wilson and everything produced afterward. Her 1930s sides with Wilson used a small jazz combo. Her recordings with Decca often involved string ensembles and presented her voice in a new light.

A month later, in November, Billie Holiday returned to the Decca studio to record three songs, "That Ole Devil Called Love", "Big Stuff", and "Don't Explain". Holiday wrote "Don't Explain" after she caught her husband, Jimmy Monroe, with lipstick on his collar.

After the recording session, Holiday did not return to the studio until August 1945. She recorded "Don't Explain", "Big Stuff", "What Is This Thing Called Love?", and "You Better Go Now". Ella Fitzgerald declared "You Better Go Now" as her favorite Billie Holiday recording. "Big Stuff" and "Don't Explain" were recorded again but with additional strings and a viola.

In 1946, Holiday recorded one of her most covered and critically acclaimed songs, "Good Morning Heartache". Although the song failed to chart, it remained a staple in her live shows with three known live recordings of the song.

In September 1946, Holiday began work on what would be her only major film ''New Orleans''. She starred opposite Louis Armstrong and Woody Herman. Plagued by racism and McCarthyism, producer Jules Levey and script writer Herbert Biberman were pressured to lessen Holiday and Armstrong's role in the film as to not give the impression that black people created jazz. Their attempts failed because in 1947 Biberman was listed as one of the Hollywood Ten and sent to jail.

Holiday was not pleased that her role was reduced to that of a maid: "I thought I was going to play myself in it," she said. "I thought I was going to be Billie Holiday doing a couple of songs in a nightclub setting and that would be that. I should have known better. When I saw the script, I did." Before filming, Holiday was assigned a dramatic coach who coached her on how to properly say "Miss Marylee", the lead character's name. "So this coach was trying to get the right kind of tom feeling into this thing," Holiday said. At one point, after feeling cornered and unable to walk off the set, she burst out into tears. Louis Armstrong tried comforting her. "Better look out," he said. "I know Lady, and when she starts crying, the next thing she's going to do is start fighting." Several scenes were deleted from the film. "They had taken miles of footage of music and scenes," Holiday said, "[and] none of it was left in the picture. And very damn little of me. I know I wore a white dress for a number I did... and that was cut out of the picture." She recorded the track "The Blues Are Brewin'", for the film's soundtrack. Other songs included in the movie are "Do You Know What It Means to Miss New Orleans?" and "Farewell to Storyville".

Holiday's drug addictions were a growing problem on the set. She earned more than a thousand dollars a week from her club ventures at the time, but spent most of it on heroin. Her lover Joe Guy traveled to Hollywood while Holiday was filming and supplied her with drugs. When discovered by Joe Glaser, Holiday's manager, Guy was banned from the set.

By the late 1940s, Holiday had begun recording a number of slow, sentimental ballads. The magazine ''Metronome'' expressed its concerns in 1946 about "Good Morning Heartache," saying "there's a danger that Billie's present formula will wear thin, but up to now it's wearing well."

Legal troubles, Carnegie Hall Concert (1947–1952)

On May 16, 1947, Holiday was arrested for the possession of narcotics in her New York apartment. On May 27, 1947, she was in court. "It was called 'The United States of America versus Billie Holiday'. And that's just the way it felt," Holiday recalled. During the trial, Holiday received notice that her lawyer was not interested in coming down to the trial and representing her. "In plain English that meant no one in the world was interested in looking out for me," Holiday said. Dehydrated and unable to hold down any food, she pled guilty and asked to be sent to the hospital. The D.A. spoke up in her defense, saying, "If your honor please, this is a case of a drug addict, but more serious, however, than most of our cases, Miss Holiday is a professional entertainer and among the higher rank as far as income was concerned." By 1947, Holiday was at her commercial peak, having made a quarter of a million dollars in the three years prior. Holiday placed second in the ''Down Beat'' poll for 1946 and 1947, her highest ranking in the poll. In ''Billboard'''s July 6 issue on 1947, Holiday ranked 5 on its annual college poll of "girl singers". Jo Stafford topped the poll. In 1946, Holiday won the ''Metronome Magazine'' popularity poll.

At the end of the trial, Holiday was sentenced to Alderson Federal Prison Camp in West Virginia, more popularly known as "Camp Cupcake". Other notable celebrities to serve time at Alderson are Martha Stewart, Sara Jane Moore (who tried to assassinate President Ford), and Lynette (Squeaky) Fromme of the Charles Manson family of murderers.

Luckily for Holiday, she was released early (March 16, 1948) because of good behavior. When she arrived at Newark, her pianist Bobby Tucker and her dog Mister were waiting for her. The dog leaped at Holiday, knocking off her hat, and tackled her to the ground. "He began lapping me and loving me like crazy," she said. A woman overheard the commotion and thought the dog was attacking Holiday. She started screaming and soon a crowd gathered and then the press showed up. "I might just as well have wheeled into Penn Station and had a quiet little get-together with the Associated Press, United Press, and International News Service," Holiday said.

Ed Fishman (who fought with Joe Glaser to be Holiday's manager) thought of the idea to throw a comeback concert at Carnegie Hall. Holiday hesitated, unsure whether audiences were ready to accept her after the arrest. She eventually gave in, and agreed to the concert.

On March 27, 1948, Holiday played Carnegie Hall to a sold-out crowd. There were 2,700 tickets sold in advance, a record at the time for the venue. Her popularity at the time was unusual in that she didn't have a current hit record. Holiday's last song to chart was "Lover Man" in 1945, which would be her final placement on the record charts during her lifetime. Holiday did 32 songs at the Carnegie concert by her count, some of which included Cole Porter's "Night and Day" and her 30s hit "Strange Fruit". During the show, someone sent Holiday a box of gardenias. "My old trademark," Holiday said. "I took them out of box and fastened them smack to the side of my head without even looking twice." There was a hatpin in the gardenias and Holiday, unknowingly, stuck the needle deep into the side of her head. "I didn't feel anything until the blood started rushing down in my eyes and ears," she said. After the third curtain call, Holiday passed out.

On April 27, 1948, Bob Sylvester and her promoter Al Wilde arranged for Billie Holiday to do a Broadway show. Titled ''Holiday on Broadway'', it sold out and was a success for a while. "The regular music critics and drama critics came and treated us like we were legit," Holiday said. Despite the success, the show closed after three weeks.

Holiday was arrested again on January 22, 1949, inside her room at San Francisco's Hotel Mark Twain.

Holiday stated that she began using hard drugs in the early 1940s. She married trombonist Jimmy Monroe on August 25, 1941. While still married to Monroe, she became romantically involved with trumpeter Joe Guy, who was also her drug dealer, and eventually became his common-law wife. She finally divorced Monroe in 1947 and also split with Guy.

In October 1949, Holiday recorded "Crazy He Calls Me", which was inducted into the Grammy Hall of Fame in 2010. Gabler said the song was a hit, likely making it her most successful recording for Decca after "Lover Man". The record charts of the 1940s did not list songs outside the top 30, making it impossible to recognize minor pop hits. Also, by the late 1940s, despite her popularity and concert drawing power, Holiday's singles received little radio airplay. This may have been because of the bad reputation she had up to that point.

Because of her 1947 conviction, Holiday's New York City Cabaret Card was revoked, which kept her from working anywhere that sold alcohol for the remaining 12 years of her life.

The Cabaret system started in 1940 and was designed to prevent people of "bad character" from working on licensed premises. A performer had to renew his or her license every two years. This system lasted until 1967. Clubs that sold alcohol in New York were among the highest paying venues in the country. Club owners knew blacklisted performers had limited work options, so they would offer them a smaller salary. This greatly reduced Holiday's earning power. She hadn't been receiving proper royalties for her work until she signed with Decca, so her main source of revenue were her club concerts. The problem worsened when Holiday's records went out of print in the 1950s. She seldom received any money from royalties in her latter years. For instance, in 1958 Holiday received a royalty check of only 11 dollars. Also, Holiday's lawyer during the late 1950s, Earle Warren Zaidins, failed to register with BMI on all but two songs she had written or co-written, costing her potential revenue.

In 1948, Holiday played at the Ebony Club, which, because she lost her cabaret card, was against the law. Her manager at the time, John Levy, was convinced he could get her card back and allowed her to open without one. "I opened scared," Holiday said, "[I was] expecting the cops to come in any chorus and carry me off. But nothing happened. I was a huge success."

Also in 1948, Holiday recorded Gershwin's "I Loves You Porgy". The single was heard by up and coming act Nina Simone. Simone covered the tune 1958, and it ended up becoming her sole top 40 hit in America.

In 1950, Holiday appeared in the Universal-International short film '''Sugar Chile' Robinson, Billie Holiday, Count Basie and His Sextet'', where she sang "God Bless the Child" and "Now, Baby or Never".

''Lady Sings The Blues'' (1952–1959)

By the 1950s, Holiday's drug abuse, drinking, and relationships with abusive men caused her health to deteriorate. She appeared on the ABC reality series ''The Comeback Story'' to discuss attempts to overcome her misfortunes. Her later recordings showed the effects of declining health on her voice, as it grew coarse and no longer projected its former vibrancy.

On March 28, 1957, Holiday married Louis McKay, a Mafia enforcer, who like most of the men in her life was abusive, but he did try to get her off drugs. They were separated at the time of her death, but McKay had plans to start a chain of Billie Holiday vocal studios, à la Arthur Murray dance schools.

Holiday's late recordings on Verve constitute about a third of her commercial recorded legacy and are as popular as her earlier work for the Columbia, Commodore and Decca labels. In later years, her voice became more fragile, but it never lost the edge that had always made it so distinctive.

Holiday's autobiography, ''Lady Sings the Blues'', was ghostwritten by William Dufty and published in 1956. Dufty, a ''New York Post'' writer and editor then married to Holiday's close friend Maely Dufty, wrote the book quickly from a series of conversations with the singer in the Duftys' 93rd Street apartment. He drew on the work of earlier interviewers as well and intended to let Holiday tell her story in her own way.

To accompany her autobiography, Holiday released an LP in June 1956 titled ''Lady Sings the Blues''. The album did not have any new material other than the title track, "Too Marvelous For Words", "Willow Weep for Me", and "I Thought About You", but had new recordings of Holiday's biggest hits. These included "Trav'lin' Light" "Strange Fruit" and "God Bless the Child". On December 22, 1956, ''Billboard'' magazine reviewed ''Lady Sings the Blues'', calling it a worthy musical complement to her autobiography. "Holiday is in good voice now," said the reviewer, "and these new readings will be much appreciated by her following." "Strange Fruit" and "God Bless the Child" were called classics, and "Good Morning Heartache", another reissued track in the LP, was also noted positively.

On November 10, 1956, Holiday performed two concerts before packed audiences at Carnegie Hall, a major accomplishment for any artist, especially a black artist of the segregated period of American history. Live recordings of the second Carnegie Hall concert were released on a Verve/HMV album in the UK in late 1961 called ''The Essential Billie Holiday''. The thirteen tracks included on this album featured her own songs, "I Love My Man", "Don't Explain" and "Fine And Mellow", together with other songs closely associated with her, including "Body and Soul", "My Man", and "Lady Sings the Blues" (her lyrics accompanied a tune by pianist Herbie Nichols).

The liner notes on this album were written partly by Gilbert Millstein of ''The New York Times'', who, according to these notes, served as narrator in the Carnegie Hall concerts. Interspersed among Holiday's songs, Millstein read aloud four lengthy passages from her autobiography ''Lady Sings The Blues''. He later wrote:

Millstein continued:

The critic Nat Hentoff of ''Down Beat'' magazine, who attended the Carnegie Hall concert, wrote the remainder of the sleeve notes on the 1961 album. He wrote of Holiday's performance:

Hentoff continued:

Her performance of "Fine and Mellow" on CBS's ''The Sound of Jazz'' program is memorable for her interplay with her long-time friend Lester Young. Both were less than two years from death.

Holiday first toured Europe in 1954 as part of a Leonard Feather package that also included Buddy DeFranco and Red Norvo. When she returned almost five years later, she made one of her last television appearances for Granada's ''Chelsea at Nine'' in London. Her final studio recordings were made for MGM in 1959, with lush backing from Ray Ellis and his Orchestra, who had also accompanied her on Columbia's ''Lady in Satin'' album the previous year—see below. The MGM sessions were released posthumously on a self-titled album, later re-titled and re-released as ''Last Recordings''.

Although childless, Billie Holiday had two godchildren: singer Billie Lorraine Feather, daughter of Leonard Feather, and Bevan Dufty, son of William Dufty.

Death

On May 31, 1959, Holiday was taken to Metropolitan Hospital in New York suffering from liver and heart disease. Police officers were stationed at the door to her room. She was arrested for drug possession as she lay dying, and her hospital room was raided by authorities. Holiday remained under police guard at the hospital until she died from cirrhosis of the liver on July 17, 1959. In the final years of her life, she had been progressively swindled out of her earnings, and she died with $0.70 in the bank and $750 (a tabloid fee) on her person. Her funeral mass was held at St. Paul the Apostle Catholic Church in New York City.

Gilbert Millstein of ''The New York Times'', who had been the narrator at Billie Holiday's 1956 Carnegie Hall concerts and had partly written the sleeve notes for the album ''The Essential Billie Holiday'' (see above), described her death in these same 1961-dated sleeve notes:

Voice

Her distinctive delivery made Billie Holiday's performances instantly recognizable throughout her career. A master of improvisation, Billie's well-trained ear more than compensated for her lack of music education. Her voice lacked range and was somewhat thin, plus years of excessive drug use eventually altered its texture and gave it a prepossessing fragility. The emotion with which she imbued each song remained not only intact but also profound. Her last major recording, a 1958 album entitled ''Lady in Satin'', features the backing of a 40-piece orchestra conducted and arranged by Ray Ellis, who said of the album in 1997:

Frank Sinatra admired Holiday, having been influenced by her performances on 52nd Street as a young man. He told ''Ebony'' magazine in 1958 about her impact:

Hit records

In 1986, Joel Whitburn's Record Research, Inc. company compiled information on the popularity of record releases from the pre-rock and roll era and created pop charts dating all the way back to the beginning of the commercial recording industry. The company's findings were published in the book ''Pop Memories 1890–1954''. Several of Holiday's records are listed on the pop charts Whitburn created.

Billie Holiday began her recording career on a high note with her first major release "Riffin' the Scotch" selling 5,000 copies. The song was released under the band name "Benny Goodman & his Orchestra." accompanied Holiday more than any other musician. He and Holiday have 95 recordings together.

In July 1936, Holiday began releasing sides under her own name. These songs were released under the band name "Billie Holiday & Her Orchestra." Most noteworthy, the popular jazz standard "Summertime," sold well and was listed on the available pop charts at the time at number 12, the first time the jazz standard charted under any artist. Only Billy Stewart's R&B; version of "Summertime" reached a higher chart placement than Holiday's, charting at number 10 thirty years later in 1966.

Holiday had 16 best selling songs in 1937, making the year her most commercially successful. It was in this year that Holiday scored her sole number one hit as a featured vocalist on the available pop charts of the 1930s, "Carelessly". The hit "I've Got My Love To Keep Me Warm", was also recorded by Ray Noble, Glen Gray and Fred Astaire whose rendering was a best seller for weeks. Holiday's version ranked 6 on the year-end single chart available for 1937.

In 1939, Holiday recorded her biggest selling record, "Strange Fruit" for Commodore, charting at number 16 on the available pop charts for the 1930s.

In 1940, ''Billboard'' began publishing its modern pop charts, which included the Best Selling Retail Records chart, the precursor to the Hot 100. None of Holiday's songs placed on the modern pop charts, partly because ''Billboard'' only published the first ten slots of the charts in some issues. Minor hits and independent releases had no way of being spotlighted.

"God Bless the Child", which went on to sell over a million copies, ranked number 3 on Billboard's year-end top songs of 1941.

On October 24, 1942, Billboard began issuing its R&B; charts. Two of Holiday's songs placed on the chart, "Trav'lin' Light" with Paul Whiteman, which topped the chart, and "Lover Man", which reached number 5.

"Trav'lin' Light" also reached 18 on Billboard's year-end chart.

Discography

Billie Holiday recorded extensively for four labels: Columbia Records, issued on its subsidiary labels Brunswick Records, Vocalion Records, and OKeh Records, from 1933 through 1942; Commodore Records in 1939 and 1944; Decca Records from 1944 through 1950; briefly for Aladdin Records in 1951; Verve Records and on its earlier imprint Clef Records; from 1952 through 1957, then again for Columbia Records from 1957 to 1958 and finally for MGM Records in 1959. Many of Holiday's recordings appeared on 78 rpm records prior to the long-playing vinyl record era, and only Clef, Verve, and Columbia issued Holiday albums during her lifetime that were not compilations of previously released material. Many compilations have been issued since her death; as well as comprehensive box sets and live recordings.

Albums

{|class=wikitable |- ! Year ! Title ! Label and Number |- | 1946 | ''Billie Holiday'' (four 78rpm records) | Commodore CR-2 |- | 1947 | ''Billie Holiday – Teddy Wilson'' (four 78rpm records) | Columbia C-61 |- | 1947 | ''A Hot Jazz Classic Set, Vol.1'' (four 78rpm records) | Columbia-135 |- | 1947 | ''Distinctive Song Stylings'' (four 78rpm records) | Decca A-652 |- | 1949 | ''Teddy Wilson And His Orchestra Featuring Billie Holiday'' (10") | Columbia CL-6040 |- | 1950 | ''An Evening With Eddie Heywood and Billie Holiday'' (10") | Commodore FL 30001 |- | 1950 | ''Ella, Lena and Billie'' (10") | Columbia CL 2531 |- | 1950 | ''Billie Holiday Sings'' (10") | Columbia CL 6129 |- | 1950 | ''Billie Holiday Volume One'' (10") | Commodore 20005 |- | 1950 | ''Billie Holiday Volume Two'' (10") | Commodore 20006 |- | 1951 | ''Favorites'' (10") | Columbia CL 6163 |- | 1951 | ''Lover Man'' (10") | Decca DL 5345 |- | 1951 (released 1964) | ''A Rare Live Recording Of Billie Holiday'' (Storyville) | M2001 |- | 1952 | ''Billie Holiday Sings'' | Clef MGC 118 (10" version) Mercury 89002 (four 78rpm records version) |- | 1953 | ''An Evening with Billie Holiday'' | Clef MGC 144 (10" version) Mercury 89028 (four 78rpm records version) |- | 1954 | ''Billie Holiday'' | Clef MGC 161 (10" version) Mercury 89045 (four 78rpm records version) |- | 1954 | ''Billie Holiday at JATP'' | Clef MGC 169 (10" version) Mercury 89053 (four 78rpm records version) |- | 1954 | ''Billie Holiday and Teddy Wilson Orchestras'' | Columbia 33 S 1034 |- | 1954 | ''Lady Day'' | Columbia CL 637 |- | 1954 | ''Billie Holiday Volume One'' | Jolly Roger 5020 |- | 1954 | ''Billie Holiday Volume Two'' | Jolly Roger 5021 |- | 1954 | ''Billie Holiday Volume Three'' | Jolly Roger 5022 |- | 1955 | ''A Collection Of Classic Jazz Interpretations By Billie Holiday'' (10") | Columbia B-1949 |- | 1955 (released in 1958) | ''Stay with Me'' | Verve MGV 8302 |- | 1955 | ''Music For Torching'' | Clef MGC 669 / Verve MV 2595 |- | 1956 | ''Recital By Billie Holiday'' | Clef MGC 686 |- | 1956 | ''Solitude'' | Clef MGC 690 / Verve V6-8074 |- | 1956 | ''Hall Of Fame Series'' (7") | Columbia B-2534 |- | 1956 | ''Velvet Mood'' | Clef MGC 713 |- | 1956 | ''Billie Holiday at JATP'' | Verve MGC 718 |- | 1956 | ''The Lady Sings'' | Decca DL 8215 |- | 1956 | ''Lady Sings the Blues'' | Clef MGC 721 / Verve MV 2047 |- | 1956 (released in 1959) | ''All or Nothing at All'' | Verve MGV 8329 |- | 1956 (released 1961) | ''Carnegie Hall Concert'' | Verve V6-8410 |- | 1957 (released 1958) | ''Songs for Distingué Lovers'' | Verve MGV 8257 / Verve 2352 085 |- | 1957 (released 1960) | ''Body and Soul'' | Verve MGV 8197 |- | 1957 | ''Ella Fitzgerald and Billie Holiday at Newport'' | Verve MGV 8234 |- | 1957 (released 1999) | ''A Midsummer Night's Jazz at Stratford '57'' | Baldwin Street 308 |- | 1957 | ''Sound of Jazz'' | Columbia CL 1098 |- | 1958 | ''Lady in Satin'' | Columbia CL 1157 |- | 1958 | ''The Blues Are Brewin`'' | Decca DL 8701 |- | 1958 | ''Lover Man'' | Decca DL 8702 |- | 1958 | ''Billie Holiday'' | Commodore 30008 |- | 1958 (released 1986) | ''At Monterey'' | Blackhawk 50701 |- | 1959 | ''Seven Ages of Jazz'' | Metrojazz 1009 |- | 1959 | ''Billie Holiday'' | MGM 3764 |}

Singles

Year	Single	Chart positions
		! style="width:40px;"	! style="width:40px;"
1934		6
		12
	6
	12
		18
	5
	17
	9
	12
	9
	18
	3
	4
	20
	5
		3
	4
	13
	8
	1
	12
	11
	12
	7
	15
	16
	11
	10
	10
	18
	14
		12
	20
	2
1939		16
1941		25
1942		23	1
1945		16	5

Compositions

1936: "Billie's Blues aka I Love My Man"

1939: "Our Love Is Different"

1939: "Long Gone Blues"

1939: "Fine and Mellow"

1939: "Everything Happens For The Best"

1940: "Tell Me More and More and Then Some"

1941: "God Bless the Child"

1944: "Don't Explain"

1949: "Somebody's On My Mind"

1949: "Now or Never"

1954: "Stormy Blues"

1956: "Lady Sings the Blues"

Never Recorded:

1939: "Lost At the Crossroads of Love"

1940: "Say I'm Yours Again"

1949: "Close Dem Eyes My Darlin'"

1952: "Please Don't Do It In Here"

1952: "You'd Do It Anyway"

1955: "Preacher Boy"

1957: "I'm Left Alone"

1957: "Who Needs You (Baby)"

Awards and honors

Grammy Hall of Fame

Billie Holiday was posthumously inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance."

{| class=wikitable |- | colspan="6" style="text-align:center;"| Billie Holiday: Grammy Hall of Fame Awards |- ! Year Recorded ! Title ! Genre ! Label ! Year Inducted ! Notes |- align=center | 1949 | "Crazy He Calls Me" | Jazz (single) | Decca | 2010 | |- align=center | 1944 | "Embraceable You" | Jazz (single) | Commodore | 2005 | |- align=center | 1958 | ''Lady in Satin'' | Jazz (album) | Columbia | 2000 | |- align=center | 1945 | "Lover Man (Oh, Where Can You Be?)" | Jazz (single) | Decca | 1989 | |- align=center | 1939 | "Strange Fruit" | Jazz (single) | Commodore | 1978 | Listed also in the National Recording Registry by the Library of Congress in 2002 |- align=center | 1941 | "God Bless the Child" | Jazz (single) | Okeh | 1976 | |}

Grammy Best Historical Album

The Grammy Award for Best Historical Album has been presented since 1979.

{| class=wikitable |- ! Year ! Title ! Label ! Result |- align=center | 2002 | ''Lady Day: The Complete Billie Holiday'' | Columbia 1933–1944 | Winner |- align=center | 1994 | ''The Complete Billie Holiday'' | Verve 1945–1959 | Winner |- align=center | 1992 | ''Billie Holiday — The Complete Decca Recordings'' | Verve 1944–1950 | Winner |- align=center | 1980 | ''Billie Holiday — Giants of Jazz'' | Time-Life | Winner |}

Other honors

{| class=wikitable |- ! Year ! Award ! Honors ! Notes |- align=center | 2004 | Ertegun Jazz Hall of Fame | Inducted | Jazz at Lincoln Center, New York |- align=center | 2000 | Rock and Roll Hall of Fame | Inducted | Category: "Early Influence" |- align=center | 1997 | ASCAP Jazz Wall of Fame |Inducted | |- align=center | 1947 | Esquire Magazine Gold Award | Best Leading Female Vocalist | Jazz award |- align=center | 1946 | Esquire Magazine Silver Award | Best Leading Female Vocalist | Jazz award |- align=center | 1945 | Esquire Magazine Silver Award | Best Leading Female Vocalist | Jazz award |- align=center | 1944 | Esquire Magazine Gold Award | Best Leading Female Vocalist | Jazz award |}

Tributes

1972, Diana Ross portrayed Holiday in the film ''Lady Sings the Blues'', which is loosely based on the 1956 autobiography of the same name. The film earned Ross a nomination for the Academy Award for Best Actress.

She was portrayed by Ernestine Jackson in the play ''Lady Day at Emerson's Bar and Grill'' by Lanie Robertson.

Paula Jai Parker portrayed Holiday in a Season 7 episode of the TV series ''Touched by an Angel'', entitled "God Bless the Child," the title derived from a song which Holiday had written and performed.

Jazz pianist Mal Waldron performed as Holiday's accompanist and released several tribute albums including:

* ''Left Alone'' (Bethlehem, 1959)

* ''Blues for Lady Day'' (Black Lion, 1972)

* ''Left Alone '86'' with Jackie McLean (Paddle Wheel, 1986)

* ''No More Tears (For Lady Day)'' (Timeless, 1989)

Honors

1987, Billie Holiday was posthumously awarded the Grammy Lifetime Achievement Award.

1993, R&B; singer Miki Howard released an album dedicated to Holiday titled ''Miki Sings Billie''.

1994, the United States Postal Service introduced a Billie Holiday postage stamp.

1999, Holiday ranked #6 on VH1's ''100 Greatest Women in Rock n' Roll''.

2000, she was inducted into the Rock and Roll Hall of Fame.

Over the years, there have been many tributes to Billie Holiday, including "The Day Lady Died," a 1959 poem by Frank O'Hara.

In 1988 the group U2 released "Angel of Harlem" in her honor.

Arthur Phillips features Holiday's 1953 concert in New York in his novel ''The Song is You'' (2009).

"My Only Friend" by The Magnetic Fields is a tribute to Billie Holiday.

Filmography

1959: ''Chelsea at Nine''

1957: ''The Sound of Jazz'', CBS Television, December 8, 1957

1950: '''Sugar Chile' Robinson, Billie Holiday, Count Basie and His Sextet''

1947: ''New Orleans''

1935: "Symphony in Black", short (with Duke Ellington)

1933: ''The Emperor Jones'', appeared as an extra

Television appearances

{|class=wikitable |- ! Year ! Program ! Host ! Songs |- | 1949 | Adventures in Jazz | Fred Robbins | Unknown Songs |- | 8/27/1949 | Arlene Francis Show, NY (1) | Arlene Francis | The Man I Love, All of Me, Lover Man |- | 8/27/1949 | Eddie Condon's Floor Show, NY (1) | Eddie Condon | I Love My Man, Keeps on Rainin', Lover Man |- | 9/3/1949 | Eddie Condon's Floor Show, NY (1) | Eddie Condon | Fine & Mellow, Porgy, Them There Eyes, I Love My Man |- | 9/10/1949 | Art Ford Show, NY (1) | Art Ford | Lover Man, I Cover the Waterfront, Two Minute Interview, All of Me |- | 10/15/1949 | Art Ford Show, NY (1) | Art Ford | Them There Eyes, Detour Ahead, Now or Never |- | 1/7/1950 | Eddie Condon's Floor Show, NY | Eddie Condon | Unknown |- | 5/24/1950 | Apollo Theatre Show, NY (1) | - | You're My Thrill |- | 7/25/1951 | Apollo Theatre Show, NY (1) | - | My Man |- | 12/10/1952 | Apollo Theatre Show, NY (1) | Count Basie | Tenderly |- | 10/16/1953 | The Comeback Story, NY (1) | George Jessel | Twenty Minute Interview, God Bless the Child |- | 2/8/1955 | The Tonight Show, NY (1) | Steve Allen | My Man, Them There Eyes, Lover Man |- | 2/10/1956 | The Tonight Show, NY (1) | Steve Allen | Please Don't Talk About Me, Two Minute Interview, Ghost of a Chance |- | 8/19/1956 | Star's of Jazz, LA, CA (2) | Bobby Troup | Please Don't Talk About Me When I'm Gone, Billie's Blues, My Man |- | 10/29/1956 | Bandstand USA, NY (1) | Bert Parks | Willow Weep for Me, I Only Have Eyes for You, My Man, Please Don't Talk About Me |- | 11/7/1956 | Night Beat, NY (1) | Mike Wallace | Fifteen Minute Interview |- | 11/8/1956 | Peacock Alley, NY (1) | Tex McCleary | Twenty Minute Interview |- | 11/8/1956 | The Tonight Show, NY (1) | Steve Allen | Porgy |- | 3/11/1957 | Live Broadcast from Mr. Kelly's, Chicago (1) | - | Good Morning Heartache, You Better Go Now |- | 12/8/1957 | The Seven Lively Arts: The Sound of Jazz, LA (2) | - | Fine & Mellow |- | 4/12/1958 | Club Oasis, NY (1) | Martha Raye | You've Changed, My Man |- | 5/26/1958 | Telethon, NY | Dean Martin | Unknown Songs |- | 5/29/1958 | Art Ford's Jazz Party, NY (2) | Art Ford | You've Changed, I Love My Man, When Your Lover Has Gone |- | 6/5/1958 | Art Ford's Jazz Party, NY | Art Ford | All of Me, Good Morning Heartache, Travelin’ Light |- | 7/10/1958 | Art Ford's Jazz Party, NY (2) | Art Ford | What a Little Moonlight Can Do, Foolin' Myself, It's Easy to Remember |- | 7/17/1958 | Art Ford's Jazz Party, NY (2) | Art Ford | Moanin' Low, Don't Explain, When Your Lover Has Gone |- | 9/25/1958 | Today Show | Dave Garroway | My Funny Valentine |- | 11/18/1958 | Mars Club, Music Hall Parade Voyons Un Peu, Paris France (2) | - | I Only Have Eyes for You, Travelin’ Light |- | 11/20/1958 | Gilles Margaritis Programme, Paris France | Gilles Margaritis | I Only Have Eyes For You, Trav'lin' Light |- | 1/7/1959 | Timex All-Star Jazz Show IV, NY | Jackie Gleason | Unknown |- | 2/23/1959 | Chelsea at Nine, London, England (2) | Robert Beatty | Porgy, Please Don't Talk About Me, Strange Fruit |}

(1) = Available on Audio (2) = Available on DVD

Notes

References

External links

Official Billie Holiday at Sony BMG

Billie Holiday discography

Biography and song samples at PBS

"Twelve Essential Billie Holiday Recordings" by Stuart Nicholson, Jazz.com

Photograph of Holiday's gravestone

Category:Article Feedback Pilot Category:1915 births Category:1959 deaths Category:African American female singers Category:African American singer-songwriters Category:Alcohol-related deaths in New York Category:American buskers Category:American jazz singers Category:Blues Hall of Fame inductees Category:Classic female blues singers Category:Columbia Records artists Category:Deaths from cirrhosis Category:Decca Records artists Category:English-language singers Category:Grammy Lifetime Achievement Award winners Category:Musicians from Philadelphia, Pennsylvania Category:Musicians from Baltimore, Maryland Category:Rock and Roll Hall of Fame inductees Category:Swing singers Category:Torch singers Category:Traditional pop music singers Category:Vocalion Records artists Category:Women in jazz

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Coordinates	29°57′53″N90°4′14″N
name	Louis Armstrong
alt	A picture of Louis Armstrong. Short-haired black man in his fifties blowing into a trumpet. He is wearing a light-colored sport coat, a white shirt and a bow tie. He is faced left with his eyes looking upwards. His right hand is fingering the trumpet, with the index finger down and three fingers pointing upwards. The man's left hand is mostly covered with a handkerchief and it has a shining ring on the little finger. He is wearing a wristwatch on the left wrist.
landscape	Yes
background	solo_singer
birth name	Louis Armstrong
born	August 4, 1901New Orleans, Louisiana, U.S.
died	July 06, 1971Corona, Queens, New York City, U.S.
instruments	Trumpet, cornet, vocals
genre	Dixieland, jazz, swing, traditional pop
occupation	Musician
spouse	Daisy Parker
years active	c. 1914–71
associated acts	Joe "King" Oliver, Ella Fitzgerald, Kid Ory, Bobby Hackett
website	}}

Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.

Coming to prominence in the 1920s as an "inventive" cornet and trumpet player, Armstrong was a foundational influence in jazz, shifting the music's focus from collective improvisation to solo performance.

With his instantly recognizable deep and distinctive gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing, vocalizing using sounds and syllables instead of actual lyrics.

Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general.

Armstrong was one of the first truly popular African-American entertainers to "cross over," whose skin-color was secondary to his amazing talent in an America that was severely racially divided. It allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a person of color. While he rarely publicly politicized his race, often to the dismay of fellow African-Americans, he was privately a strong supporter of the Civil Rights movement in America.

Biography

Early life

Armstrong often stated that he was born on July 4, 1900, a date that has been noted in many biographies. Although he died in 1971, it was not until the mid-1980s that his true birth date of August 4, 1901 was discovered through the examination of baptismal records.

Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty, in a rough neighborhood of Uptown New Orleans, known as “Back of Town”, as his father, William Armstrong (1881–1922), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert (1886–1942), then left Louis and his younger sister Beatrice Armstrong Collins (1903–1987) in the care of his grandmother, Josephine Armstrong, and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and saw his father only in parades.

He attended the Fisk School for Boys. It was there that he likely had his first exposure to Creole music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's where Joe "King" Oliver performed and other famous musicians would drop in to jam.

After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys that sang in the streets for money. But he also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. Armstrong hardly looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans...It has given me something to live for.”

He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and gave him odd jobs. They took him in and treated him as almost a family member, knowing he lived without a father, and would feed and nurture him. He later wrote a memoir of his relationship with the Karnofskys titled, ''Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907.'' In it he describes his discovery that this family was also subject to discrimination by "other white folks' nationalities who felt that they were better than the Jewish race. I was only seven years old but I could easily see the ungodly treatment that the White Folks were handing the poor Jewish family whom I worked for." Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination." The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience."

Armstrong developed his cornet playing seriously in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather's pistol into the air at a New Year's Eve celebration, as police records confirm. Professor Peter Davis (who frequently appeared at the Home at the request of its administrator, Captain Joseph Jones) instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The Home band played around New Orleans and the thirteen year old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the Home, living again with his father and new stepmother and then back with his mother and also back to the streets and their temptations. Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.

He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as, "going to the University," since it gave him a much wider experience working with written arrangements.

In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band, a society band.

Career

On March 19, 1918, Louis married Daisy Parker from Gretna, Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis's cousin Flora, died soon after giving birth. Clarence Armstrong was mentally disabled (the result of a head injury at an early age) and Louis would spend the rest of his life taking care of him. Louis's marriage to Parker failed quickly and they separated. She died shortly after the divorce.

Through all his riverboat experience Armstrong’s musicianship began to mature and expand. At twenty, he could read music and he started to be featured in extended trumpet solos, one of the first jazzmen to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances. In 1922, Armstrong joined the exodus to Chicago, where he had been invited by his mentor, Joe "King" Oliver, to join his Creole Jazz Band and where he could make a sufficient income so that he no longer needed to supplement his music with day labor jobs. It was a boom time in Chicago and though race relations were poor, the “Windy City” was teeming with jobs for black people, who were making good wages in factories and had plenty to spend on entertainment.

Oliver's band was the best and most influential hot jazz band in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived like a king in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. As Armstrong’s reputation grew, he was challenged to “cutting contests” by hornmen trying to displace the new phenom, who could blow two hundred high C’s in a row. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver's band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band.

Armstrong enjoyed working with Oliver, but Louis's second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Armstrong took the advice of his wife and left Oliver's band. For a year Armstrong played in Fletcher Henderson's band in New York on many recordings. After playing in New York, Armstrong returned to Chicago, playing in large orchestras; there he created his most important early recordings. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil’s influence eventually undermined Armstrong’s relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the day. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson's tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period. Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone and the other members quickly took up Armstrong’s emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers. The Henderson Orchestra was playing in the best venues for white-only patrons, including the famed Roseland Ballroom, featuring the classy arrangements of Don Redman. Duke Ellington’s orchestra would go to Roseland to catch Armstrong’s performances and young hornmen around town tried in vain to outplay him, splitting their lips in their attempts.

During this time, Armstrong also made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; these included small jazz band sides with the Williams Blue Five (some of the best pairing Armstrong with one of Armstrong's few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.

Armstrong returned to Chicago in 1925 due mostly to the urging of his wife, who wanted to pump up Armstrong’s career and income. He was content in New York but later would concede that she was right and that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as “the World’s Greatest Trumpet Player”. At first he was actually a member of the Lil Hardin Armstrong Band and working for his wife. He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as "Potato Head Blues", "Muggles", (a reference to marijuana, for which Armstrong had a lifelong fondness), and "West End Blues", the music of which set the standard and the agenda for jazz for many years to come.

The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong’s bandleading style was easygoing, as St. Cyr noted, "One felt so relaxed working with him and he was very broad-minded ... always did his best to feature each individual." His recordings soon after with pianist Earl "Fatha" Hines (most famously their 1928 ''Weatherbird'' duet) and Armstrong's trumpet introduction to "West End Blues" remain some of the most famous and influential improvisations in jazz history. Armstrong was now free to develop his personal style as he wished, which included a heavy dose of effervescent jive, such as "whip that thing, Miss Lil" and "Mr. Johnny Dodds, Aw, do that clarinet, boy!"

Armstrong also played with Erskine Tate’s Little Symphony, actually a quintet, which played mostly at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as “Madame Butterfly,” which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using non-sensical words) and was among the first to record it, on "Heebie Jeebies" in 1926. So popular was the recording the group became the most famous jazz band in the USA even though they as yet had not performed live to any great degree. Young musicians across the country, black and white, were turned on by Armstrong’s new type of jazz.

After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone's associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed ''Louis Armstrong and his Stompers'', though Hines was the music director and Glaser managed the orchestra. Hines and Armstrong became fast friends as well as successful collaborators.

Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical ''Hot Chocolate'', an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of "Ain't Misbehavin'", his version of the song becoming his biggest selling record to date.

Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows, and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the 'crooning' sound of artists like Bing Crosby. Armstrong's famous interpretation of Hoagy Carmichael's "Stardust" became one of the most successful versions of this song ever recorded, showcasing Armstrong's unique vocal sound and style and his innovative approach to singing songs that had already become standards.

Armstrong's radical re-working of Sidney Arodin and Carmichael's "Lazy River" (recorded in 1931) encapsulated many features of his groundbreaking approach to melody and phrasing. The song begins with a brief trumpet solo, then the main melody is stated by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: "Yeah! ..."Uh-huh" ..."Sure" ... "Way down, way down." In the first verse, he ignores the notated melody entirely and sings as if playing a trumpet solo, pitching most of the first line on a single note and using strongly syncopated phrasing. In the second stanza he breaks into an almost fully improvised melody, which then evolves into a classic passage of Armstrong "scat singing".

As with his trumpet playing, Armstrong's vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gritty coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as "Lazy River" exerted a huge influence on younger white singers such as Bing Crosby.

The Depression of the early Thirties was especially hard on the jazz scene. The Cotton Club closed in 1936 after a long downward spiral and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney Bechet became a tailor and Kid Ory returned to New Orleans and raised chickens. Armstrong moved to Los Angeles in 1930 to seek new opportunities. He played at the New Cotton Club in LA with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, ''Ex-Flame''. Armstrong was convicted of marijuana possession but received a suspended sentence. He returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he get out of town, Armstrong visited New Orleans, got a hero’s welcome and saw old friends. He sponsored a local baseball team known as “Armstrong’s Secret Nine” and got a cigar named after himself. But soon he was on the road again and after a tour across the country shadowed by the mob, Armstrong decided to go to Europe to escape.

After returning to the States, he undertook several exhausting tours. His agent Johnny Collins’ erratic behavior and his own spending ways left Armstrong short of cash. Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Crosby's 1936 hit ''Pennies from Heaven''. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network and became the first African American to host a sponsored, national broadcast. He finally divorced Lil in 1938 and married longtime girlfriend Alpha.

After spending many years on the road, Armstrong settled permanently in Queens, New York in 1943 in contentment with his fourth wife, Lucille. Although subject to the vicissitudes of Tin Pan Alley and the gangster-ridden music business, as well as anti-black prejudice, he continued to develop his playing. He recorded Hoagy Carmichael's Rockin' Chair for Okeh Records.

During the subsequent thirty years, Armstrong played more than three hundred gigs a year. Bookings for big bands tapered off during the 1940s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. It became impossible under such circumstances to support and finance a 16-piece touring band.

The All Stars

Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong's manager Joe Glaser dissolved the Armstrong big band on August 13, 1947 and established a six-piece small group featuring Armstrong with (initially) Teagarden, Earl Hines and other top swing and dixieland musicians, most of them ex-big band leaders. The new group was announced at the opening of Billy Berg's Supper Club.

This group was called Louis Armstrong and his All Stars and included at various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Tyree Glenn, Barrett Deems and the Filipino-American percussionist, Danny Barcelona. During this period, Armstrong made many recordings and appeared in over thirty films. He was the first jazz musician to appear on the cover of ''Time Magazine'' on February 21, 1949.

In 1964, he recorded his biggest-selling record, "Hello, Dolly!" The song went to #1 on the pop chart, making Armstrong (age 63) the oldest person to ever accomplish that feat. In the process, Armstrong dislodged The Beatles from the #1 position they had occupied for 14 consecutive weeks with three different songs.

Armstrong kept up his busy tour schedule until a few years before his death in 1971. In his later years he would sometimes play some of his numerous gigs by rote, but other times would enliven the most mundane gig with his vigorous playing, often to the astonishment of his band. He also toured Africa, Europe, and Asia under sponsorship of the US State Department with great success, earning the nickname "Ambassador Satch." While failing health restricted his schedule in his last years, within those limitations he continued playing until the day he died.

Death

Armstrong died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday, and 11 months after playing a famous show at the Waldorf-Astoria's Empire Room. He was residing in Corona, Queens, New York City, at the time of his death. He was interred in Flushing Cemetery, Flushing, in Queens, New York City.

His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost. Peggy Lee sang The Lord's Prayer at the services while Al Hibbler sang "Nobody Knows the Trouble I've Seen" and Fred Robbins, a long-time friend, gave the eulogy.

Personality

Armstrong was a colorful character. His own biography vexes biographers and historians, because he had a habit of telling tales, particularly of his early childhood, when he was less scrutinized, and his embellishments of his history often lack consistency.

He was not only an entertainer. Armstrong was a leading personality of the day who was so beloved by a white-controlled America that gave even the greatest African American performers little access beyond their public celebrity, that he was able to privately live a life of access and privilege accorded to few other African Americans.

He tried to remain politically neutral, which gave him a large part of that access, but often alienated him from members of the African-American community who looked to him to use his prominence with white America to become more of an outspoken figure during the Civil Rights Era of U.S. history.

Nicknames

The nicknames Satchmo and Satch are short for Satchelmouth. Like many things in Armstrong's life, which was filled with colorful stories both real and imagined, many of his own telling, the nickname has many possible origins.

The most common tale that biographers tell is the story of Armstrong as a young boy dancing for pennies in the streets of New Orleans, who would scoop up the coins off of the streets and stick them into his mouth to avoid having the bigger children steal them from him. Someone dubbed him "satchel mouth" for his mouth acting as a satchel.

Early on he was also known as Dipper, short for Dippermouth, a reference to the piece ''Dippermouth Blues''. and something of a riff on his unusual embouchure.

Armstrong and race

Armstrong was largely accepted into white society, both on stage and off, a privilege reserved for very few African-American public figures, and usually those of either exceptional talent and fair skin-tone. As his fame grew, so did his access to the finer things in life usually denied to a black man, even a famous one. His renown was such that he dined in the best restaurants and stayed in hotels usually exclusively for whites.

It was a power and privilege that he enjoyed, although he was very careful not to flaunt it with fellow performers of color, and privately, he shared what access that he could with friends and fellow musicians.

That still did not prevent members of the African-American community, particularly in the late 1950s to the early 1970s, from calling him an ''Uncle Tom'', a black-on-black racial epithet for someone who kowtowed to white society at the expense of their own racial identity.

He was criticized for accepting the title of "King of The Zulus" for Mardi Gras in 1949. In the New Orleans African-American community it is an honored role as the head of leading black Carnival Krewe, but bewildering or offensive to outsiders with their traditional costume of grass-skirts and blackface makeup satirizing southern white attitudes.

Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the civil rights movement.

Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."

The few exceptions made it more effective when he did speak out. Armstrong's criticism of President Eisenhower, calling him "two-faced" and "gutless" because of his inaction during the conflict over school desegregation in Little Rock, Arkansas in 1957 made national news.

As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying "The way they're treating my people in the South, the government can go to hell" and that he could not represent his government abroad when it was in conflict with its own people. Six days after Armstrong's comments, Eisenhower ordered Federal troops to Little Rock to escort students into the school.

The FBI kept a file on Armstrong, for his outspokenness about integration.

Religion

When asked about his religion, Armstrong would answer that he was raised a Baptist, always wore a Star of David, and was friends with the Pope. Armstrong wore the Star of David in honor of the Karnofsky family, who took him in as a child and lent him the money to buy his first cornet. Louis Armstrong was, in fact, baptized as a Catholic at the Sacred Heart of Jesus Church in New Orleans, and he met popes Pius XII and Paul VI, though there is no evidence that he considered himself Catholic. Armstrong seems to have been tolerant towards various religions, but also found humor in them.

Personal habits

Purging

Armstrong was also greatly concerned with his health and bodily functions. He made frequent use of laxatives as a means of controlling his weight, a practice he advocated both to personal acquaintances and in the diet plans he published under the title ''Lose Weight the Satchmo Way''. Armstrong's laxative of preference in his younger days was Pluto Water, but he then became an enthusiastic convert when he discovered the herbal remedy Swiss Kriss. He would extol its virtues to anyone who would listen and pass out packets to everyone he encountered, including members of the British Royal Family. (Armstrong also appeared in humorous, albeit risqué, cards that he had printed to send out to friends; the cards bore a picture of him sitting on a toilet—as viewed through a keyhole—with the slogan "''Satch says, 'Leave it all behind ya!'''") The cards have sometimes been incorrectly described as ads for Swiss Kriss.

In a live recording of "Baby, It's Cold Outside" with Velma Middleton, he changes the lyric from "Put another record on while I pour" to "Take some Swiss Kriss while I pour." The line, slightly garbled in the live recording, could just as likely be "Take some Swiss Miss while I pour"—Swiss Miss is a hot chocolate mix that would have been fairly new on the market in 1951. (The line comes at 1:04 in the song.)

Love of food

The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey," though "Struttin’ with Some Barbecue" was written about a fine-looking companion, not about food. He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, "Red beans and ricely yours..."

Writings

Armstrong’s gregariousness extended to writing. On the road, he wrote constantly, sharing favorite themes of his life with correspondents around the world. He avidly typed or wrote on whatever stationery was at hand, recording instant takes on music, sex, food, childhood memories, his heavy “medicinal” marijuana use—and even his bowel movements, which he gleefully described. He had a fondness for lewd jokes and dirty limericks as well.

Social organizations

Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No. 18 (Prince Hall) in New York, no such lodge has ever existed. Armstrong states in his autobiography, however, that he was a member of the Knights of Pythias, which is not a Masonic group.

Music

Horn playing and early jazz

In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. The greatest trumpet playing of his early years can be heard on his Hot Five and Hot Seven records, as well as the Red Onion Jazz Babies. The improvisations he made on these records of New Orleans jazz standards and popular songs of the day are unsurpassed by later jazz performers. The older generation of New Orleans jazz musicians often referred to their improvisations as "variating the melody." Armstrong's improvisations were daring and sophisticated for the time, while often subtle and melodic.

He often essentially re-composed pop-tunes he played, making them more interesting. Armstrong's playing is filled with joyous, inspired original melodies, creative leaps, and subtle relaxed or driving rhythms. The genius of these creative passages is matched by Armstrong's playing technique, honed by constant practice, which extended the range, tone and capabilities of the trumpet. In these records, Armstrong almost single-handedly created the role of the jazz soloist, taking what was essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.

Armstrong's work in the 1920s shows him playing at the outer limits of his abilities. The Hot Five records, especially, often have minor flubs and missed notes, which do little to detract from listening enjoyment since the energy of the spontaneous performance comes through. By the mid 1930s, Armstrong achieved a smooth assurance, knowing exactly what he could do and carrying out his ideas to perfection.

He was one of the first artists to use recordings of his performances to improve himself. Armstrong was an avid audiophile. He had a large collection of recordings, including reel-to-reel tapes, which he took on the road with him in a trunk during his later career. He enjoyed listening to his own recordings, and comparing his performances musically. In the den of his home, he had the latest audio equipment and would sometimes rehearse and record along with his older recordings or the radio.

Vocal popularity

As his music progressed and popularity grew, his singing also became very important. Armstrong was not the first to record scat singing, but he was masterful at it and helped popularize it. He had a hit with his playing and scat singing on "Heebie Jeebies" when, according to some legends, the sheet music fell on the floor and he simply started singing nonsense syllables. Armstrong stated in his memoirs that this actually occurred. He also sang out "I done forgot the words" in the middle of recording "I'm A Ding Dong Daddy From Dumas."

Such records were hits and scat singing became a major part of his performances. Long before this, however, Armstrong was playing around with his vocals, shortening and lengthening phrases, interjecting improvisations, using his voice as creatively as his trumpet.

Colleagues and followers

During his long career he played and sang with some of the most important instrumentalists and vocalists of the time; among them were Bing Crosby, Duke Ellington, Fletcher Henderson, Earl Hines, the singing brakeman Jimmie Rodgers, Bessie Smith and perhaps most famously Ella Fitzgerald.

His influence upon Bing Crosby is particularly important with regard to the subsequent development of popular music: Crosby admired and copied Armstrong, as is evident on many of his early recordings, notably "Just One More Chance" (1931). The ''New Grove Dictionary Of Jazz'' describes Crosby's debt to Armstrong in precise detail, although it does not acknowledge Armstrong by name:

Armstrong recorded three albums with Ella Fitzgerald: ''Ella and Louis'', ''Ella and Louis Again'', and ''Porgy and Bess'' for Verve Records, with the sessions featuring the backing musicianship of the Oscar Peterson Trio and drummer Buddy Rich. His recordings ''Satch Plays Fats'', all Fats Waller tunes, and ''Louis Armstrong Plays W.C. Handy'' in the 1950s were perhaps among the last of his great creative recordings, but even oddities like ''Disney Songs the Satchmo Way'' are seen to have their musical moments. And, his participation in Dave Brubeck's high-concept jazz musical ''The Real Ambassadors'' was critically acclaimed. For the most part, however, his later output was criticized as being overly simplistic or repetitive.

Hits and later career

Armstrong had many hit records including "Stardust", "What a Wonderful World", "When The Saints Go Marching In", "Dream a Little Dream of Me", "Ain't Misbehavin'", "You Rascal You,"and "Stompin' at the Savoy." "We Have All the Time in the World" was featured on the soundtrack of the James Bond film ''On Her Majesty's Secret Service'', and enjoyed renewed popularity in the UK in 1994 when it featured on a Guinness advert. It reached number 3 in the charts on being re-released.

In 1964, Armstrong knocked the Beatles off the top of the ''Billboard'' Hot 100 chart with "Hello, Dolly!", which gave the 63-year-old performer a U.S. record as the oldest artist to have a number one song. His 1964 song, "Bout Time" was later featured in the film "Bewitched" (2005).

Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang "Mi Va di Cantare" alongside his friend, the Eritrean-born Italian singer Lara Saint Paul. In February 1968, he also appeared with Lara Saint Paul on the Italian RAI television channel where he performed "Grassa e Bella," a track he sang in Italian for the Italian market and C.D.I. label.

In 1968, Armstrong scored one last popular hit in the United Kingdom with the highly sentimental pop song "What a Wonderful World", which topped the British charts for a month; however, the single did not chart at all in America. The song gained greater currency in the popular consciousness when it was used in the 1987 movie ''Good Morning, Vietnam'', its subsequent rerelease topping many charts around the world. Armstrong even appeared on the October 28, 1970 ''Johnny Cash Show'', where he sang Nat "King" Cole's hit "Rambling Rose" and joined Cash to re-create his performance backing Jimmie Rodgers on "Blue Yodel #9".

Stylistic range

Armstrong enjoyed many types of music, from blues to the arrangements of Guy Lombardo, to Latin American folksongs, to classical symphonies and opera. Armstrong incorporated influences from all these sources into his performances, sometimes to the bewilderment of fans who wanted Armstrong to stay in convenient narrow categories. Armstrong was inducted into Rock and Roll Hall of Fame as an ''early influence''. Some of his solos from the 1950s, such as the hard rocking version of "St. Louis Blues" from the ''WC Handy'' album, show that the influence went in both directions.

Literature, radio, films and TV

Armstrong appeared in more than a dozen Hollywood films, usually playing a band leader or musician. His most familiar role was as the bandleader ''cum'' narrator in the 1956 musical, ''High Society'', in which he sang the title song and performed a duet with Bing Crosby on "Now You Has Jazz". In 1947, he played himself in the movie ''New Orleans'' opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago. In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), he played himself as well as singing and playing several classic numbers, including a remarkable duet with Danny Kaye of ''When the Saints Go Marching In'' during which Kaye does a brilliant impersonation of Armstrong. He also had a part in the film alongside James Stewart in "The Glenn Miller Story" in which Glenn (played by Stewart) went along to Connies Inn and had a jam session with him and a few other noted musicians of the time, Louis sang "Basin St. Blues"..

He was the first African American to host a nationally broadcast radio show in the 1930s. In 1969, Armstrong had a cameo role in the film version of ''Hello, Dolly!'' as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of "Hello, Dolly!" is one of his most recognizable performances. He was heard on such radio programs as ''The Story of Swing'' (1937) and ''This Is Jazz'' (1947), and he also made countless television appearances, especially in the 1950s and 1960s, including appearances on ''The Tonight Show Starring Johnny Carson''.

Armstrong has a record star on the Hollywood Walk of Fame at 7601 Hollywood Boulevard.

Many of Armstrong's recordings remain popular. Almost four decades since his passing, a larger number of his recordings from all periods of his career are more widely available than at any time during his lifetime. His songs are broadcast and listened to every day throughout the world, and are honored in various movies, TV series, commercials, and even anime and computer games. "A Kiss to Build a Dream On" was included in the computer game ''Fallout 2'', accompanying the intro cinematic. It was also used in the 1993 film ''Sleepless in Seattle'' and the 2005 film ''Lord of War''. His 1923 recordings, with Joe Oliver and his Creole Jazz Band, continue to be listened to as documents of ensemble style New Orleans jazz, but more particularly as ripper jazz records in their own right. All too often, however, Armstrong recorded with stiff, standard orchestras leaving only his sublime trumpet playing as of interest. "Melancholy Blues," performed by Armstrong and his Hot Seven was included on the Voyager Golden Record sent into outer space to represent one of the greatest achievements of humanity. Most familiar to modern listeners is his ubiquitous rendition of "What a Wonderful World". In 2008, Armstrong's recording of Edith Piaf's famous "La Vie En Rose" was used in a scene of the popular Disney/Pixar film ''WALL-E''. The song was also used in parts, especially the opening trumpets, in the French Film Jeux d'enfants (English: Love Me If You Dare)

Argentine writer Julio Cortázar, a self-described Armstrong admirer, asserted that a 1952 Louis Armstrong concert at the Théâtre des Champs-Élysées in Paris played a significant role in inspiring him to create the fictional creatures called Cronopios that are the subject of a number of Cortázar's short stories. Cortázar once called Armstrong himself "Grandísimo Cronopio" (Most Enormous Cronopio).

Armstrong appears as a minor character in Harry Turtledove's Southern Victory Series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young Armstrong also appears as a minor character in Patrick Neate's 2001 novel ''Twelve Bar Blues'', part of which is set in New Orleans, and which was a winner at that year's Whitbread Book Awards.

There is a pivotal scene in 1980's ''Stardust Memories'' in which Woody Allen is overwhelmed by a recording of Armstrong's Stardust and experiences a nostalgic epiphany. The combination of the music and the perfect moment is the catalyst for much of the film's action, prompting the protagonist to fall in love with an ill-advised woman.

Armstrong is referred to in ''The Trumpet of the Swan'' along with Ella Fitzgerald and Billie Holiday. Three siblings in the film are named Louis, Billie, and Ella. The main character, Louis, plays a trumpet, an obvious nod to Armstrong. In the original E. B. White book, he is referred to by name, by a child who hears Louis playing and comments, "He sounds just like Louis Armstrong, the famous trumpet player."

In the 2009 Disney Film ''The Princess and the Frog'', one of the supporting characters is a trumpet-playing alligator named Louis. During the song "When I'm Human", Louis sings a line and it says "Y'all heard of Louis Armstrong".

Awards and honors

Grammy Awards

Armstrong was posthumously awarded the Grammy Lifetime Achievement Award in 1972 by the Academy of Recording Arts and Sciences. This Special Merit Award is presented by vote of the Recording Academy's National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.

{| class=wikitable |- | colspan="6" style="text-align:center;" | Grammy Award |- ! Year ! Category ! Title ! Genre ! Label ! Result |- align=center | 1964 | Male Vocal Performance | "Hello, Dolly!" | Pop | Kapp | Winner |}

Grammy Hall of Fame

Recordings of Armstrong were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

{| class=wikitable |- | colspan="6" style="text-align:center;" | Grammy Hall of Fame |- ! Year Recorded ! Title ! Genre ! Label ! Year Inducted ! Notes |- align=center | 1929 | "St. Louis Blues" | Jazz (Single) | OKeh | 2008 |with Bessie Smith |- align=center | 1928 | "Weather Bird" | Jazz (Single) | OKeh | 2008 | with Earl Hines |- align=center | 1930 | "Blue Yodel #9(Standing on the Corner)" | Country (Single) | Victor | 2007 | Jimmie Rodgers (Featuring Louis Armstrong) |- align=center | 1932 | "All of Me" | Jazz (Single) | Columbia | 2005 | |- align=center | 1958 | ''Porgy and Bess'' | Jazz (Album) | Verve | 2001 | with Ella Fitzgerald |- align=center | 1964 | "Hello Dolly!" | Pop (Single) | Kapp | 2001 | |- align=center | 1926 | "Heebie Jeebies" | Jazz (Single) | OKeh | 1999 | |- align=center | 1968 | "What a Wonderful World" | Jazz (Single) | ABC | 1999 | |- align=center | 1955 | "Mack the Knife" | Jazz (Single) | Columbia | 1997 | |- align=center | 1925 | "St. Louis Blues" | Jazz (Single) | Columbia | 1993 | Bessie Smith with Louis Armstrong, cornet |- align=center | 1928 | "West End Blues" | Jazz (Single) | OKeh | 1974 | |}

Rock and Roll Hall of Fame

The Rock and Roll Hall of Fame listed Armstrong's ''West End Blues'' on the list of 500 songs that shaped Rock and Roll.

{| class=wikitable |- ! Year Recorded ! Title ! Label ! Group |- align=center | 1928 | West End Blues | Okeh | Louis Armstrong and his Hot Five |}

Inductions and honors

In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp.

{| class=wikitable |- ! Year Inducted ! Title ! Results ! Notes |- align=center | 2007 | Louisiana Music Hall of Fame | | |- align=center | 2007 | Gennett Records Walk of Fame, Richmond, Indiana | | |- align=center | 2007 | Long Island Music Hall of Fame | | |- align=center | 2004 | Nesuhi Ertegün Jazz Hall of Fameat Jazz at Lincoln Center | | |- align=center | 1990 | Rock and Roll Hall of Fame | | Early influence |- align=center | 1978 | Big Band and Jazz Hall of Fame | | |- align=center | 1952 | Down Beat Jazz Hall of Fame | | |- align=center | 1960 | Hollywood Walk of Fame | Star | at 7601 Hollywood Blvd. |}

Legacy

The house where Louis Armstrong lived for close to 28 years was declared a National Historic Landmark in 1977 and is now a museum. The Louis Armstrong House Museum, at 34-56 107th Street (between 34th and 37th Avenues) in Corona, Queens, presents concerts and educational programs, operates as a historic house museum and makes materials in its archives of writings, books, recordings and memorabilia available to the public for research. The museum is operated by the City University of New York's Queens College, following the dictates of Lucille Armstrong's will.

The museum opened to the public on October 15, 2003. A visitors center is currently being planned, and estimated to open in 2011.

The influence of Armstrong on the development of jazz is virtually immeasurable. Yet, his irrepressible personality both as a performer, and as a public figure later in his career, was so strong that to some it sometimes overshadowed his contributions as a musician and singer.

As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.

Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddins and others. Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessie Smith's 'big' sound and Armstrong's feeling in her singing.

On August 4, 2001, the centennial of Armstrong's birth, New Orleans's airport was renamed Louis Armstrong International Airport in his honor.

In 2002, the Louis Armstrong's Hot Five and Hot Seven recordings (1925–1928) are preserved in the United States National Recording Registry, a registry of recordings selected yearly by the National Recording Preservation Board for preservation in the National Recording Registry of the Library of Congress.

The US Open tennis tournament's former main stadium was named Louis Armstrong Stadium in honor of Armstrong who had lived a few blocks from the site.

Today, there are many bands worldwide dedicated to preserving and honoring the music and style of Satchmo, including the Louis Armstrong Society located in New Orleans, LA.

Discography

Louis Armstrong albums

Louis Armstrong songs

Notes

References

Armstrong, Louis. ''Satchmo: My Life in New Orleans''. ISBN 0-306-80276-7

Armstrong, Louis and Thomas Brothers. ''Armstrong, in His Own Words: Selected Writings''. ISBN 0-19-514046-X

Bergreen, Laurence "Louis Armstrong: An Extravagant Life" ISBN 0-553-06768-0

Brothers, Thomas "Louis Armstrong's New Orleans" ISBN 0-393-06109-4

Cogswell, Michael. ''Armstrong: The Offstage Story''. ISBN 1-888054-81-6

Elie, Lolis Eric. ''A Letter from New Orleans.'' Originally printed in ''Gourmet''. Reprinted in ''Best Food Writing 2006,'' Edited by Holly Hughes, ISBN 1-56924-287-9

Jones Max and John Chilton. Louis Armstrong Story. ISBN 0-306-80324-0

Meckna, Michael. ''Satchmo: The Louis Armstrong Encyclopedia''. ISBN 0-313-30137-9

Video clips

"Now You Has Jazz"

"Blueberry Hill"

"Stompin' At The Savoy" Germany, 1959

"Tiger Rag"

"C'est si bon 1962

"Dream a Little Dream" photo slide show

"Louis Armstrong and Frank Sinatra - The Birth of The Blues" - The Edsel Show

External links

louis-armstrong.net - Sony BMG Music Entertainment

Louis Armstrong by Nat Hentoff

Obituary, NY Times

Quotes and tributes

Discography

Filmography @ imdb.com

The Louis Armstrong Society Jazz Band

Louis Armstrong: A Life in Music - slideshow by ''Life magazine''

''Seeing Black'' jazz critic on the Uncle Tom question

the official website of the Louis Armstrong House & Archives

"Louis Armstrong Transcription Project - john p birchall"

Louis Armstrong at pbskids.org

David Margolick, The Day Louis Armstrong Made Noise

Smithsonian Louis Armstrong: A Cultural Legacy

Louis Armstrong at NPR Music

Louis Armstrong in Athens, Blog of the Digital Library of Georgia

Louis Armstrong: discography and early recordings (Real Player format) on the Red Hot Jazz website.

Milestone Louis Armstrong recordings at Three Perfect Minutes

Louis Armstrong's autobiography online book

* "Satchmo - My Life in New Orleans(1954)" free download

*"Satchmo - My Life in New Orleans" another website

Category:Article Feedback Pilot Category:1901 births Category:1971 deaths Category:ABC Records artists Category:African American brass musicians Category:African American singers Category:American buskers Category:American jazz cornetists Category:American jazz singers Category:American jazz trumpeters Category:Burials at Flushing Cemetery Category:Cardiovascular disease deaths in New York Category:Columbia Records artists Category:Deaths from myocardial infarction Category:Decca Records artists Category:Dixieland bandleaders Category:Dixieland singers Category:Dixieland trumpeters Category:Gennett recording artists Category:Grammy Lifetime Achievement Award winners Category:Jazz bandleaders Category:Jazz musicians from New Orleans, Louisiana Category:MGM Records artists Category:Musicians from Louisiana Category:Okeh Records artists Category:People from Corona, Queens Category:RCA Victor artists Category:Rock and Roll Hall of Fame inductees Category:Swing bandleaders Category:Swing singers Category:Swing trumpeters Category:Traditional pop music singers Category:Vocal jazz musicians Category:Vocalion Records artists Category:Performing arts pages with videographic documentation

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Birth name	Arlo Davy Guthrie
background	solo_singer
birth date	July 10, 1947
birth place	Coney Island, New York, U.S.
instrument	guitarharmonicapiano
genre	Folk, blues
occupation	Singer-songwriter
years active	1967–present
label	Rising Son Records
associated acts	Shenandoah Pete Seeger Woody Guthrie
website	Arlo.net
notable instruments	}}

Arlo Davy Guthrie (born July 10, 1947) is an American folk singer. Like his deceased father, Woody Guthrie, Arlo is known for singing songs of protest against social injustice. One of Guthrie's better-known works is "Alice's Restaurant Massacree", a satirical talking blues song about 18 minutes in length.

Early life

Arlo Guthrie was born in Brooklyn, New York, the son of folk singer and composer Woody Guthrie and his wife Marjorie Mazia Guthrie. His sister is Nora Guthrie. His mother was a one-time professional dancer with the Martha Graham Company and founder of the Committee to Combat Huntington's disease, the disease that took Woody's life in 1967. His maternal grandmother was renowned Yiddish poet Aliza Greenblatt. His father was from a Protestant family and his mother was Jewish; Guthrie received religious training for his bar mitzvah from Rabbi Meir Kahane, who would go on to form the Jewish Defense League. "Rabbi Kahane was a really nice, patient teacher," Guthrie later recalled, "but shortly after he started giving me my lessons, he started going haywire. Maybe I was responsible." Guthrie attended Woodward School in Clinton Hill Brooklyn 1st through 8th grades and later graduated from the Stockbridge School, in Stockbridge, Massachusetts, in 1965, and briefly attended Rocky Mountain College. He received an Honorary Doctorate from Westfield State College, in 2008.

As a singer, songwriter and lifelong political activist, Guthrie carries on the legacy of his legendary father. He was awarded the Peace Abbey Courage of Conscience award on September 26, 1992.

"Alice's Restaurant"

His most famous work is "Alice's Restaurant Massacree", a talking blues song that lasts 18 minutes and 34 seconds in its original recorded version. Guthrie has pointed out that this was also the exact length of one of the famous gaps in Richard Nixon's Watergate tapes. He has been known to spin the story out to forty-five minutes in concert. The Alice in the song is Alice Brock, who had been librarian at Arlo's boarding school in town before opening her restaurant, and who now runs an art gallery in Provincetown, Massachusetts.

The song lampoons the Vietnam War draft. However, Guthrie stated in a 2009 interview with Ron Bennington that the song is more an "anti-stupidity" song than an anti-war song, adding that it is based on a true incident. In the song, Guthrie is called up for a draft examination, and rejected as unfit for military service as a result of a criminal record consisting in its entirety of a single arrest, court appearance, fine, and clean-up order for littering and creating a public nuisance on Thanksgiving Day in 1965, when Arlo was 18 years old. Alice and her restaurant make up the recurrent refrain, but barely figure in the story. On the DVD commentary for the 1969 movie, Guthrie states that the events presented in the song all actually happened.

For a short period of time after its release in 1967, "Alice's Restaurant" was heavily played on U.S. college and counter-culture radio stations. It became a symbol of the late 1960s and for many it defined an attitude and lifestyle that were lived out across the country in the ensuing years. Its leisurely, sassy finger-picking acoustic guitar and rambling lyrics were widely memorized and played by irreverent youth. Many stations across the States have made playing "Alice's Restaurant" a Thanksgiving Day tradition.

A 1969 film, directed and co-written by Arthur Penn, was based on the true story told in the song, but with the addition of a large number of fictional scenes. This film, also called ''Alice's Restaurant'', featured Arlo portraying himself. The part of his father Woody Guthrie, who had died in 1967, was played by an actor, Joseph Boley.

Despite its popularity, the song "Alice's Restaurant Massacree" is not always featured on the set list of any given performance.

Music career and critical reception

The "Alice's Restaurant" song was one of a few very long songs to become popular just when albums began replacing hit singles as young people's main music listening. But in 1972 Guthrie had a highly successful single too, Steve Goodman's song "City of New Orleans", a wistful paean to long-distance passenger rail travel. Guthrie's first trip on that train was in December 2005 (when his family joined other musicians on a train trip across the country to raise money for musicians financially devastated by Hurricane Katrina and Hurricane Rita, in the South of the United States). He also had a minor hit with his song "Coming into Los Angeles," which was played at the 1969 Woodstock Festival, and success with a live version of "The Motorcycle Song."

Guthrie's 1976 album ''Amigo'' received a 5-star (highest rating) from ''Rolling Stone,'' and may be his best-received work; unfortunately that milestone album, like Guthrie's earlier Warner Bros. Records albums, is rarely heard today even though each boasts compelling folk and folk rock music accompanied by top-notch musicians such as Ry Cooder.

A number of musicians from a variety of genres have joined Guthrie onstage, including Pete Seeger, David Bromberg, Cyril Neville, Emmylou Harris, Willie Nelson, Judy Collins, John Prine, Wesley Gray, Josh Ritter, and others.

Shenandoah

In the fall of 1975 during a benefit concert in Massachusetts, Arlo Guthrie performed with his band Shenandoah in public for the first time. They continued to tour and record throughout the 1970s until the early 1990s. Although the band received good reviews, it never gained the popularity that Guthrie did while playing solo.

This band is not to be confused with the popular country music group Shenandoah, an entirely different group that had musical hits from 1986 to 2006. Arlo Guthrie's band Shenandoah consisted (after 1976) of David Grover, Steve Ide, Carol Ide, Terry A La Berry and Dan Velika.

Acting

Though Guthrie is best known for being a musician, singer, and composer, throughout the years he has also appeared as an actor in films and on television. The film ''Alice's Restaurant'' (1969) is his best known role, but he has had small parts in several films and even co-starred in a television drama, ''Byrds of Paradise''.

Guthrie has had minor roles in several movies and television series. Usually, he has appeared as himself, often performing music and/or being interviewed about the 1960s, folk music and various social causes. His television appearances have included a broad range of programs from ''The Muppet Show'' (1979) to ''Politically Incorrect'' (1998). A rare dramatic film part was in the 1992 movie ''Roadside Prophets''. Guthrie's memorable appearance at the 1969 Woodstock Festival was documented in the Michael Wadleigh film ''Woodstock''.

Guthrie also made a pilot for a TV variety show called "The Arlo Guthrie Show" in February, 1987. The hour-long program included story telling and musical performances and was filmed in Austin, Texas. It was broadcast nationally on PBS. Special guests were Pete Seeger, Bonnie Raitt, David Bromberg and Jerry Jeff Walker.

Politics

A registered Republican, Guthrie endorsed Texas Congressman Ron Paul for the 2008 Republican Party nomination. He said, "I love this guy. Dr. Paul is the only candidate I know of who would have signed the Constitution of the United States had he been there. I'm with him, because he seems to be the only candidate who actually believes it has as much relevance today as it did a couple of hundred years ago. I look forward to the day when we can work out the differences we have with the same revolutionary vision and enthusiasm that is our American legacy." He told ''The New York Times Magazine'' that he is a Republican because, "We had enough good Democrats. We needed a few more good Republicans. We needed a loyal opposition."

About once a month, Guthrie posts short writings to the Announcements area of www.arlo.net, often sounding libertarian themes. However, on February 1, 2011, his post was to promote the cause of the public employee unions being opposed by Wisconsin Republicans, and to favor the cause of labor unions in general. Previously Guthrie had made comments in public disparaging musicians' unions and stating that he had refused to join one.

In earlier years, at least from the 1960s to the 1980s, Guthrie had taken a decidedly leftist approach to American politics. In his often lengthy comments during concerts his expressed positions were consistently anti-war, anti-Nixon, pro-drugs and in favor of making nuclear power illegal. However, he apparently regarded himself as more an individualist than the major youth culture spokesperson he had been regarded as by the media, as evidenced by the lyrics in his 1979 song "Prologue": "I can remember all of your smiles during the demonstrations, ... and together we sang our victory songs though we were worlds apart."

In 1984, he was the featured celebrity in George McGovern's campaign for the Democratic presidential nomination in Guthrie's home state of Massachusetts, performing at rallies and receptions.

Legacy

Like his father, Woody Guthrie, Guthrie often sings songs of protest against social injustice. He collaborated with poet Adrian Mitchell to tell the story of Chilean folk singer and activist Víctor Jara in song. He regularly performed with folk legend Pete Seeger, one of his father's longtime partners. Ramblin' Jack Elliott, who had lived for two years in the Guthries' home before Arlo left for boarding school, had absorbed Woody's style perhaps better than anyone; Arlo has been said to have credited Elliott for passing it along to him.

In 1991, Guthrie bought the church that had served as Alice and Ray Brock's former home in Great Barrington, Massachusetts, and converted it to the Guthrie Center, an interfaith meeting place that serves people of all religions. The center provides weekly free lunches in the community and support for families living with HIV/AIDS as well as other life-threatening illnesses. It also hosts a summertime concert series and Guthrie does six or seven fund raising shows there every year. There are several annual events such as the Walk-A-Thon to Cure Huntington's Disease and a "Thanksgiving Dinner That Can't Be Beat" for families, friends, doctors and scientists who live and work with Huntington's disease.

Family

Guthrie and his wife Jackie reside in the Town of Washington, Massachusetts. Guthrie's son Abe Guthrie and his daughters Sarah Lee Guthrie and Cathy Guthrie have also become musicians. Annie Guthrie writes songs and performs, and also takes care of family touring details. Sarah Lee performs and records with her husband Johnny Irion. Cathy plays ukulele in Folk Uke, a group she formed with Amy Nelson, the daughter of Willie Nelson. Abe Guthrie was formerly in a folk-rock band called Xavier, and now tours with his father. Abe Guthrie's son, Krishna, is a drummer and toured with Arlo Guthrie on his European tour in 2006 and played guitar for the 2009–2010 Tour. Krishna plays drums in Modest Me and aspires to be the lead of his own band some day. Arlo Guthrie is a grandfather of Abe's son Krishna and daughter Serena, Annie's son Shiva Das (Mo) and daughter Jacklyn, Sarah Lee's daughters Olivia Nora and Sophia Irion and Cathy's daughter Marjorie Maybelle Midwood.

In fiction

Arlo Guthrie is mentioned in Tim Winton's novel ''The Riders'' – shortlisted for the Booker Prize in 1995. A character in the novel overhears locals in the small Irish town of Shinrone, recount the night Arlo Guthrie came to play. The actual event occurred in February 1988, when Arlo played the local gymnasium in Shinrone, County Offaly. The concert was organised by a local postman, Tom Stapleton.

Works

Discography

''Alice's Restaurant'' (1967)

''Arlo'' (1968)

''Running Down the Road'' (1969)

''Alice's Restaurant Soundtrack'' (1969)

''Washington County'' (1970)

''Hobo's Lullaby'' (1972)

''Last of the Brooklyn Cowboys'' (1973)

''Arlo Guthrie'' (1974)

''Together In Concert'' (1975), with Pete Seeger (2 record set), Warner/Reprise

''Amigo'' (1976)

''The Best of Arlo Guthrie'' (1977)

''One Night'' (1978)

''Outlasting the Blues'' (1979)

''Power Of Love'' (1981)

''Precious Friend'' (1981), with Pete Seeger (2 record set), Warner/Reprise

''Someday'' (1986)

''All Over the World'' (1991)

''Son of the Wind'' (1992)

''2 Songs'' (1992)

''More Together Again'' (1993), with Pete Seeger (2 record set)

''Alice's Restaurant (The Massacree Revisited)'' (1996)

''Mystic Journey'' (1996)

''This Land Is Your Land: An All American Children's Folk Classic'' (1997)

''Till We Outnumber 'Em'' (2000) - various artists, live program hosted by Arlo

''Banjoman: a tribute to Derroll Adams'' (2002)

''Live In Sydney'' (2005)

''In Times Like These'' (2007)

''32¢ Postage Due'' (2008)

''Tales Of '69 (2009)

Select filmography

''Alice's Restaurant'' (1969)

''Renaldo and Clara'' (1978)

''Baby's Storytime'' (1989)

''Roadside Prophets'' (1992)

Notable television guest appearances

''Beat Club'' (episode # 1.52) February 28, 1970

''Byrds of Paradise'' (1994)

''Relativity'' December 29, 1996

''Renegade'' in episode: "Top Ten with a Bullet" (episode # 5.14) January 24, 1997

''Rich Man, Poor Man: Book 2'' 2 episodes, 1976

The fourth season of ''The Muppet Show''.

Film and television composer

''Alice's Restaurant'' (1969) (song "The Alice's Restaurant Massacree")

''Woodstock'' (1970) (song "Coming Into Los Angeles" – the song heard on the officially released soundtrack recording was not played at the Woodstock festival. Rather, it is a recording of a previous live presentation.)

''Clay Pigeon'' (1971) also known as ''Trip to Kill'' (UK)

''Baby's Storytime'' (1989)

Producer

''Isn't This a Time! A Tribute Concert for Harold Leventhal'' (2004)

Writer

''Mooses Come Walking'' (2004) (children's book)

Appearances as himself

''Hylands hörna'' (episode # 4.4) January 31, 1970

''Woodstock'' (1969) (also known as ''Woodstock 25th Anniversary Edition'' and as ''Woodstock, 3 Days of Peace & Music'')

''The Dick Cavett Show'' September 8, 1970

''Arthur Penn 1922–: Themes and Variants'' (1970) (TV)

''The Tonight Show Starring Johnny Carson'', August 17, 1972

''The Muppet Show'' (episode # 4.8) June 19, 1979

''The Weavers: Wasn't That a Time'' (1982)

''Woody Guthrie: Hard Travelin''' (1984)

''Farm Aid '87'' (1987) (TV)

''A Vision Shared: A Tribute to Woody Guthrie and Leadbelly'' (1988)

''Woodstock: The Lost Performances'' (1990)

''Woodstock Diary'' (1994) (TV)

''The Kennedy Center Honors: A Celebration of the Performing Arts'' (1994) (TV)

''The History of Rock 'N' Roll, Vol. 6'' (1995) (TV) (also known as ''My Generation'')

''This Land Is Your Land: The Animated Kids' Songs of Woody Guthrie'' (1997)

''Healthy Kids'' (1998) (TV series)

''The Ballad of Ramblin' Jack'' (2000)

''Hollywood Rocks the Movies: The Early Years'' (1955–1970) (2000) (TV)

''Last Party 2000'' (2001) (also known as ''The Party's Over'')

''Pops Goes the Fourth!'' (July 4, 2001)

''NPR's Talk of the Nation'' radio broadcast (Nov. 14, 2001)

*"St. James Infirmary" and "City of New Orleans"

''Singing in the Shadow: The Children of Rock Royalty'' (2003)

''Get Up, Stand Up'' (2003) (TV series)

''From Wharf Rats to the Lords of the Docks'' (2004)

''Isn't This a Time! A Tribute Concert for Harold Leventhal'' (2004)

''1968 with Tom Brokaw'' (2007)

''Pete Seeger: The Power of Song'' (2008) (''American Masters'' PBS TV special)

''The 84th Annual Macy's Thanksgiving Day Parade'' (2010) (TV special)

Footnotes

References

Lee, Laura, ''Arlo, Alice & Anglicans: The Lives of a New England Church'' (Berkshire House Publishers, 2000; W.W. Norton, 2000 paperback ISBN 1-58157-010-4)

Massachusetts Foundation for the Humanities' Mass Moments: "Arlo Guthrie Convicted of Littering," November 28, 1965"

"Youths Ordered to Clean Up Rubbish Mess": contemporaneous news article reprinted in ''This is the Arlo Guthrie Songbook'' p. 39 (offline)

External links

Arlo Guthrie's Rising Son Records

Audio 2007 Interview on the Horace J. Digby Report, Ann Arbor, Michigan

Audio from April 2007 interview

The Guthrie Center

World Music Central "Arlo Guthrie"

YouTube video of Alice's Restaurant

YouTube video of the Motorcycle Song

Category:1947 births Category:Living people Category:American folk singers Category:American male singers Category:American people of Jewish descent Category:American singer-songwriters Arlo Category:Massachusetts Republicans Category:People from Brooklyn

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