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Ole and Lena (also Sven and Ole) are central characters in jokes by Scandinavian Americans, particularly in the Upper Midwest region of the U.S., particularly in Minnesota, Wisconsin, Iowa, South Dakota and North Dakota where Scandinavian immigrant traditions are common.
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Ole and Lena jokes can be long and drawn-out stories, or as short as two or three sentences. Lena is typically portrayed as the smarter of the two, often explaining where Ole went wrong in his misadventures. Another common character is Sven, who usually shows up in jokes along with Ole, making Sven and Ole jokes, though all three may appear together. Sven isn't as bright as Ole and Lena, but he means well. Ole and Lena are typically Norwegian, and Sven and his wife are Swedish.
One would not find Ole and Lena jokes in Sweden or Norway. Rather they are an outgrowth of an immigrant experience. Language mistakes are a frequent source of Ole and Lena joke material. Turning the misunderstandings and mistakes into jokes enabled people to jest about their American immigrant experience. The popularity of the jokes was greatly enhanced by the numerous Ole and Lena joke books authored by Red Stangland.[1]
One reason that the Ole and Lena jokes have endured and thrive is that they are quaint and well-meaning. Ole, Lena, Sven and others still speak with the marring accent and fractured English of the immigrant who just arrived. Humor of this sort may help us to maintain a sense of perspective. The core of this folk humor is probably the strongly egalitarian sense that permeates the cultural code in the Nordic countries.[2]
Many of the jokes are bawdy:
In addition to the Prairie Home Companion joke books, there are various collections in print under the name of editor Red Stangland.
Jessy Matador | |
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![]() Jessy Matador in Oslo, 28 May 2010 |
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Background information | |
Birth name | Jessy Kimbangi |
Born | (1982-10-27) 27 October 1982 (age 29) |
Origin | Democratic Republic of the Congo |
Genres | Zouk, Dancehall, Reggae, Hip hop, Coupé-Décalé, Ndombolo, Kuduro |
Occupations | Singer, Dance |
Years active | 2001–present |
Labels | Wagram Records |
Associated acts | La Sélésao, Magic System |
Website | selesao.skyrock.com |
Jessy Kimbangi better known by his stage name Jessy Matador (born 27 October 1982) is a singer from France.
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Born in the Democratic Republic of the Congo on 27 October 1982, Matador began his career as a dancer in 2001. He later joined the group "Les cœurs brisés" (The Broken Hearts) with whom he toured the United States, Democratic Republic of the Congo, the United Kingdom, Italy and Canada.
In 2005, he decided to create his own group called "La Sélésao" composed of members Dr.Love, Linho and Benkoff. The same members also formed the first edition of the group Magic System. In late 2007, they signed with Oyas Records before signing with Wagram Records in spring 2008.
They released their début single "Décalé Gwada" in June 2008, becoming one of the hits of that summer. On 24 November 2008 the group released the album Afrikan New Style, a musical hybrid of African and Caribbean influences with more urban sounds. The style includes influences of zouk, dancehall, reggae, hip hop, Coupé-Décalé, ndombolo and kuduro.
In December 2008, they released their second single "Mini Kawoulé".
On 19 February 2010, it was announced by France Télévisions that Matador would represent France in the Eurovision Song Contest 2010, to be held on 29 May 2010 in Oslo, Norway with the song "Allez Ola Olé".[1] Jessy Matador placed 12th in the final, which was one of France's better results in the 2000s.
Title | Album details | Peak chart positions |
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FRA [2] |
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Afrikan New Style |
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93 |
Electro Soukouss |
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42 |
Year | Title | Peak chart positions | Album | |||||||||
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FRA [2] |
BEL (FLA) [3] |
BEL (WAL) [4] |
DEN [5] |
FIN [6] |
IRE [7] |
NOR [8] |
SWE [9] |
GER [7] |
UK [10] |
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2008 | "Décalé Gwada" | 14 | — | 23 | — | — | — | — | — | — | — | Afrikan New Style |
2009 | "Mini Kawoulé" | 16 | — | — | — | — | — | — | — | — | — | |
2010 | "Allez Ola Olé" | 1 | 4 | 13 | 30 | 7 | 39 | 5 | 34 | 17 | 81 | Electro Soukouss |
2011 | "Dansez" (feat. Daddy Killa) | 86 | — | — | — | — | — | — | — | — | — | |
"Galera" (feat. King Kuduro & Bra Zil) | 68 | — | — | — | — | — | — | — | — | — |
Year | Title | Peak chart positions | Album |
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FRA (Club) [11] |
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2009 | "Y'a qu'à demander" | 15 | Afrikan New Style |
2010 | "Bomba" | – | Elektro Soukouss |
2010 | "Une affaire de chut" | – |
Awards and achievements | ||
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Preceded by Patricia Kaas with Et s'il fallait le faire |
France in the Eurovision Song Contest 2010 |
Succeeded by Amaury Vassili with Sognu |
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Persondata | |
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Name | Matador, Jessy |
Alternative names | |
Short description | |
Date of birth | 27 October 1982 |
Place of birth | |
Date of death | |
Place of death |
Lady Gaga | |
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![]() Lady Gaga performing on The Monster Ball Tour in 2010 |
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Background information | |
Birth name | Stefani Joanne Angelina Germanotta |
Born | (1986-03-28) March 28, 1986 (age 26) New York, New York, U.S. |
Genres | Pop, dance, electronic |
Occupations | Singer-songwriter, performance artist, record producer, dancer, businesswoman, activist |
Instruments | Vocals, piano, keyboards |
Years active | 2005–present |
Labels | Def Jam, Cherrytree, Streamline, Kon Live, Interscope |
Website |
![]() Lady Gaga's signature |
Stefani Joanne Angelina Germanotta (/ˈstɛfəniː dʒʌrməˈnɑːtə/ STE-fə-nee jurr-mə-NAH-tə; born March 28, 1986), known by her stage name Lady Gaga, is an American singer and songwriter. Born and raised in New York City, she primarily studied at the Convent of the Sacred Heart and briefly attended New York University's Tisch School of the Arts before withdrawing to focus on her musical career. She began performing in the rock music scene of Manhattan's Lower East Side, and was signed with Streamline Records by the end of 2007. During her employment as a songwriter for the record company, her vocal abilities captured the attention of recording artist Akon, who signed her to his label Kon Live Distribution.
Lady Gaga came to prominence as a recording artist following the release of her debut album The Fame (2008), which was a critical and commercial success that topped charts around the world and included the international number-one singles "Just Dance" and "Poker Face". After embarking on the The Fame Ball Tour, she followed the album with The Fame Monster (2009), which spawned the worldwide hit singles "Bad Romance", "Telephone" and "Alejandro". The album's success allowed her to embark on the eighteen-month long Monster Ball Tour, which later became one of the highest-grossing concert tours of all time. Her most recent album Born This Way (2011) topped the charts of most major markets and generated more international chart-topping singles, including "Born This Way", "Judas" and "The Edge of Glory". Besides her musical career, she involves herself with humanitarian causes and LGBT activism.
Influenced by David Bowie, Michael Jackson, Madonna and Queen, Lady Gaga is recognized for her flamboyant, diverse and outré contributions to the music industry through her fashion, performances and music videos. She has sold an estimated 23 million albums and 64 million singles worldwide, making her one of the best-selling music artists of all time and her singles are some of the best selling worldwide.[1] Her achievements include five Grammy Awards and 13 MTV Video Music Awards. Lady Gaga has consecutively appeared on Billboard magazine's Artists of the Year (scoring the definitive title in 2010), ranked fourth in VH1's list of 100 Greatest Women in Music, is regularly placed on lists composed by Forbes magazine and was named one of the most influential people in the world by Time magazine.[2][3] In 2012, Gaga was ranked at number four on Billboard's list of top moneymakers of 2011, grossing more than $25 million.[4]
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Lady Gaga was born Stefani Joanne Angelina Germanotta on March 28, 1986 in New York City to parents Cynthia (née Bissett) and Joseph Germanotta, an Internet entrepreneur.[5][6] Descending from Italian and more distant French-Canadian roots, Gaga is the elder of two children.[7][8] Her sister, Natali, a fashion student, was born in 1992.[9][10] Despite her seemingly affluent upbringing in the family home in Manhattan's Upper West Side, Gaga has stressed that she did not come from a wealthy background, stating that her parents "both came from lower-class families, so we've worked for everything—my mother worked eight to eight out of the house, in telecommunications, and so did my father."[11][12]
From the age of 11, Gaga – who was raised Roman Catholic – attended the Convent of the Sacred Heart, a private all-girls Roman Catholic school on Manhattan's Upper East Side.[13][14][15] She described her academic life in high school as "very dedicated, very studious, very disciplined" but also "a bit insecure": "I used to get made fun of for being either too provocative or too eccentric, so I started to tone it down. I didn't fit in, and I felt like a freak."[16][17] Acquaintances dispute that she did not fit in at school. "She had a core group of friends; she was a good student. She liked boys a lot, but singing was No. 1," recalled a former high school classmate.[18] Gaga began playing the piano at the age of 4, went on to write her first piano ballad at 13, and started to perform at open mike nights by the age of 14.[19][20] Her passion for musical theatre brought her lead roles in high school productions, including Adelaide in Guys and Dolls and Philia in A Funny Thing Happened on the Way to the Forum.[21] She also appeared in a very small role as a mischievous classmate in the television drama series The Sopranos in a 2001 episode titled "The Telltale Moozadell" in addition to unsuccessfully auditioning for parts in New York shows.[11][22]
When her time at the Convent of the Sacred Heart came to an end, her mother encouraged her to apply for the Collaborative Arts Project 21 (CAP21), a musical theatre training conservatory at New York University's Tisch School of the Arts.[11] After becoming one of twenty students to gain early admission, she eventually lived in an NYU dorm on 11th Street by the age of 17.[21] CAP21 prepared her for her future career focus in "music, art, sex and celebrity" where, in addition to sharpening her songwriting skills, she composed essays and analytical papers on art, religion, social issues and politics, including a thesis on pop artists Spencer Tunick and Damien Hirst.[20][23][24] With CAP21, she also tried out for and won auditions, including the part of an unsuspecting diner customer for MTV's Boiling Points, a prank reality television show.[11][25] But Gaga felt more creative than some of her classmates. "Once you learn how to think about art, you can teach yourself," she said.
Gaga withdrew from CAP21 at 19, in the second semester of her sophomore year, deciding to focus on her musical career.[26] Her father agreed to pay her rent for a year, on the condition that she re-enroll at Tisch if unsuccessful. "I left my entire family, got the cheapest apartment I could find, and ate shit until somebody would listen," she remembers.[21] Settled in a small apartment on Rivington Street towards the summer of 2005, Gaga recorded a couple of songs with hip-hop singer Grandmaster Melle Mel, for an audio book accompanying the children's book The Portal in the Park, by Cricket Casey.[11][27] She also began a band called the Stefani Germanotta Band (SGBand) with some friends from NYU – guitarist Calvin Pia, bassist Eli Silverman, drummer Alex Beckham and booking manager Frank Fredericks – in September of that year.[11][21] The band played a mixture of songs: some self-penned alongside classic rock numbers like Led Zeppelin's "D'yer Mak'er".[11] Playing in bars like the Greenwich Village's The Bitter End and the Lower East Side's the Mercury Lounge, the band developed a small fan base and caught the eye of music producer Joe Vulpis.[11] Soon after arranging time in Vulpis' studio in the months that followed, SGBand were selling their extended plays Words and Red and Blue (both 2005) at gigs around New York while becoming a local fixture of the downtown Lower East Side club scene.[21]
SGBand reached their career peak at the 2006 Songwriters Hall of Fame New Songwriters Showcase at The Cutting Room in June where Wendy Starland, a musician, appeared as a talent scout for music producer Rob Fusari. Starland informed Fusari – who was searching for a female singer to front a new band – of Gaga's ability and contacted her. With SGBand disbanded, Gaga traveled daily to New Jersey to work on songs she had written and compose new material with the music producer.[11] While in collaboration, Fusari compared some of her vocal harmonies to those of Freddie Mercury, lead singer of Queen.[28] It was Fusari who helped create the moniker Gaga after the Queen song "Radio Ga Ga". Gaga was in the process of trying to come up with a stage name when she received a text message from Fusari that read "Lady Gaga."[29] He explained, "Every day, when Stef came to the studio, instead of saying hello, I would start singing 'Radio Ga Ga'. That was her entrance song" and that the text message was the result of a predictive text glitch that changed "radio" to "lady". She texted back, "That's it," and declared, "Don't ever call me Stefani again."[29][30] The New York Post, however, has reported that this story is incorrect, and that the name resulted from a marketing meeting.[18]
Although the musical relationship between Fusari and Gaga was unsuccessful at first, the pair soon set up a company titled Team Lovechild in which they recorded and produced electropop tracks and sent them to music industry bosses.[11] Joshua Sarubin, the head of A&R at Def Jam Recordings, responded positively and vied for the record company to take a chance on her "unusual and provocative" performance. After having his boss Antonio "L.A." Reid in agreement, Gaga was signed to Def Jam in September 2006 with the intention of having an album ready in nine months.[11] However, she was dropped by the label after only three months – an unfortunate period of her life that would later inspire her treatment for the music video for her 2011 single "Marry the Night".[31][32] Devastated, Gaga returned to the solace of the family home for Christmas and the nightlife culture of the Lower East Side.[11]
She became increasingly experimental: fascinating herself with emerging neo-burlesque shows, go-go dancing at bars dressed in little more than a bikini in addition to experimenting with drugs.[11][14] Her father, however, did not understand the reason behind her drug intake and could not look at her for several months.[14][30] "I was onstage in a thong, with a fringe hanging over my ass thinking that had covered it, lighting hairsprays on fire, go-go dancing to Black Sabbath and singing songs about oral sex. The kids would scream and cheer and then we'd all go grab a beer. It represented freedom to me. I went to a Catholic school but it was on the New York underground that I found myself."[23] It was then when she became romantically involved with a heavy metal drummer in a relationship and break-up she likened to the musical film Grease: "I was his Sandy, and he was my Danny, and I just broke." He later became an inspiration behind some of her later songs.[33]
During this time, she met performance artist Lady Starlight, who helped mold her on-stage persona.[34] Starlight explained that, upon their first meeting, Gaga wanted to perform with her to songs she had recorded with Fusari. Like SGBand, the pair soon began performing at many of the downtown club venues like the Mercury Lounge, The Bitter End, and the Rockwood Music Hall. Their live performance art piece was known as "Lady Gaga and the Starlight Revue" and, billed as "The Ultimate Pop Burlesque Rockshow", was a low-fi tribute to 1970s variety acts.[35][36] Soon after, the two were invited to play at the 2007 Lollapalooza music festival in August that year.[37] The show was critically acclaimed, and their performance received positive reviews.[20][35] Having initially focused on avant-garde electronic dance music, Gaga had found her musical niche when she began to incorporate pop melodies and the glam rock of David Bowie and Queen into her music.[38]
While Gaga and Starlight were busy performing, producer Rob Fusari continued to work on the songs he had created with Gaga. Fusari sent these songs to his friend, producer and record executive Vincent Herbert.[39] Herbert was quick to sign her to his label Streamline Records, an imprint of Interscope Records, upon its establishment in 2007.[40] Gaga later credited Herbert as the man who discovered her, adding "I really feel like we made pop history, and we're gonna keep going."[39] Having served as an apprentice songwriter under an internship at Famous Music Publishing, which was later acquired by Sony/ATV Music Publishing, Gaga subsequently struck a music publishing deal with Sony/ATV.[41] As a result, she was hired to write songs for Britney Spears and labelmates New Kids on the Block, Fergie, and the Pussycat Dolls.[41] At Interscope, singer-songwriter Akon recognized her vocal abilities when she sang a reference vocal for one of his tracks in studio.[42] Akon then convinced Interscope-Geffen-A&M Chairman and CEO Jimmy Iovine to form a joint deal by having her also sign with his own label Kon Live, making her his "franchise player."[31][43]
As 2007 came to a close, her former management company introduced her to songwriter and producer RedOne, whom they also managed.[44] The first song she produced with RedOne was "Boys Boys Boys", a mash-up inspired by Mötley Crüe's "Girls, Girls, Girls" and AC/DC's "T.N.T.".[30][44] Gaga continued her collaboration with RedOne in the recording studio for a week on her debut album and also joined the roster of Cherrytree Records, an Interscope imprint established by producer and songwriter Martin Kierszenbaum, after co-writing four songs with Kierszenbaum including the singles "Christmas Tree" and "Eh, Eh (Nothing Else I Can Say)".[41] Despite her secure record deal, she admitted that there was fear about her being too "racy", "dance-orientated" and "underground" for the mainstream market. Her response: "My name is Lady Gaga, I've been on the music scene for years, and I'm telling you, this is what's next."[15]
By 2008, Gaga had relocated to Los Angeles in order to work extensively with her record label to complete her debut album and set up her own creative team Haus of Gaga, modeled on Andy Warhol's Factory.[30][45] The Fame was first released on August 19, 2008 to slow radio play. Gaga supported it by performing around Europe and in small gay clubs around the US in addition to being billed as a supporting artist on the North American leg of New Kids on the Block's reunion concert tour.[46][47] A sleeper hit, lead single "Just Dance" had preceded the album's release by four months but only hit the summit of the international charts in January 2009, provoking the instant success of the album, earning her first Grammy Award nomination (for Best Dance Recording) and becoming one of the best-selling singles worldwide.[46][48] Gaga achieved a greater unexpected success when "Poker Face", another sleeper hit, reached number one in most major music markets worldwide in early 2009, selling 9.8 million singles worldwide.[49][50] The follow-up single won the award for Best Dance Recording at the 52nd Grammy Awards over nominations for Song of the Year and Record of the Year.
The Fame itself was nominated for Album of the Year while winning Best Dance/Electronica Album at the same ceremony.[51] Contemporary critics lauded the album, describing it as an exploration of her obsession with fame and the intricacies of a rich and famous lifestyle, noting its combination of genres "from Def Leppard drums and hand claps to metal drums on urban tracks", the inspiration drawn from 1980s synthpop and incorporation of dance music with clear hooks.[31] The Fame went to number one in Austria, Canada, Germany, Ireland, Switzerland and the UK and appeared in the top five in Australia, the US and 15 other countries.[52][53] It also stayed atop the Dance/Electronic Albums chart for 106 non-consecutive weeks and, since its release, has sold over 12 million copies worldwide.[54] The album's success spawned many 2009 honors including Billboard magazine's Rising Star award and the accumulation of 3 of 9 MTV Video Music Awards nominations, winning Best New Artist with the video for her single "Paparazzi" gaining Best Art Direction and Best Special Effects.[55][56] In addition to being an opening act on the Pussycat Dolls' Doll Domination Tour during the first half of 2009 in Europe and Oceania, she also embarked on her own six-month critically appreciated worldwide concert tour The Fame Ball Tour which ran from March to September 2009.[57][58]
While she traveled the globe, she wrote The Fame Monster, an EP of eight songs released in November 2009. Each song, dealing with the darker side of fame from personal experience, is expressed through a monster metaphor. Making Gaga the first artist in digital history to have three singles (alongside "Just Dance" and "Poker Face") to pass the four million mark in digital sales, its lead single "Bad Romance" topped the charts in eighteen countries and reached the top two in the US, Australia and New Zealand while accruing the Grammy Awards for Best Female Pop Vocal Performance and Best Short Form Music Video.[59] The second single "Telephone", which features singer Beyoncé, was nominated for the Grammy Award for Best Pop Collaboration with Vocals and became Gaga's fourth UK number one single; its accompanying music video, although controversial, received positive reception from contemporary critics who praised her for "the musicality and showmanship of Michael Jackson and the powerful sexuality and provocative instincts of Madonna."[60][61] Her following single "Alejandro" paired Gaga with fashion photographer Steven Klein for a music video similarly as controversial – critics complimented its ideas and dark nature but the Catholic League attacked Gaga for her alleged use of blasphemy.[62] Despite the controversy surrounding her music videos, they made Gaga the first artist to gain over one billion viral views on video-sharing website YouTube.[63] At the 2010 MTV Video Music Awards, Gaga won 8 of her 13 nominations, including Video of the Year for "Bad Romance" (with "Telephone" also nominated), which made her the first female artist to be nominated twice for the award.[64][65] In addition, The Fame Monster garnered a total of six nominations at the 53rd Grammy Awards – equating to the amount of Grammy nominations her debut received – winning Best Pop Vocal Album and earning her a second-consecutive nomination for Album of the Year.[66][67]
The success of the album allowed Gaga to start her second worldwide concert tour, The Monster Ball Tour, just weeks after the release of The Fame Monster and months after having finished The Fame Ball Tour.[68] Upon finishing in May 2011, the critically acclaimed and commercially accomplished tour ran for over one and a half years and grossed $227.4 million, making it one of the highest-grossing concert tours of all time and the highest-grossing for a debut headlining artist.[69] Concerts performed at Madison Square Garden in New York City were filmed for a HBO television special titled Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden. The special accrued one of its five Emmy Award nominations and has since been released on DVD and Blu-ray.[70] Gaga also performed songs from the album at international events such as the 2009 Royal Variety Performance where she sang "Speechless", a power ballad, in the presence of Queen Elizabeth II; the 52nd Grammy Awards where her opening performance consisted of the song "Poker Face" and a piano duet of "Speechless" in a medley of "Your Song" with Elton John; and the 2010 BRIT Awards where a performance of an acoustic rendition of "Telephone" followed by "Dance in the Dark" dedicated to the late fashion designer and close friend, Alexander McQueen, supplemented her hat-trick win at the awards ceremony.[71] Other performances may have included her participation in Michael Jackson's This Is It concert series at London's O2 Arena. "I was actually asked to open for Michael on his tour," she stated. "We were going to open for him at the O2 and we were working on making it happen. I believe there was some talk about us, lots of the openers, doing duets with Michael on stage."[72]
In 2009 she collaborated with consumer electronic company Monster Cable Products to create a pair of in-ear jewel-encrusted headphones titled Heartbeats. "They are designed to be the first ever fashion accessories that double as the absolute best sonically sounding headphones in the world," she commented.[73] Gaga also partnered with Polaroid in January 2010 as their Creative Director.[74] Excited about "blending the iconic history of Polaroid and instant film with the digital era," Gaga unveiled the first trio of new products called Grey Label: a pair of picture-taking sunglasses, a paperback-sized mobile printing unit and an updated version of the traditional Polaroid camera at the 2011 Consumer Electronics Show.[75] But her collaboration with past producer Rob Fusari led to her production team, Mermaid Music LLC, being sued in March 2010 when he claimed that he was entitled to a 20% share of the company's earnings. Gaga's lawyer, Charles Ortner, described the agreement with Fusari as "unlawful" and declined to comment, but five months later, the New York Supreme Court dismissed both the lawsuit and a countersuit by Gaga.[76][77] In addition to such strife, Gaga was tested borderline positive for lupus, but claimed not to be affected by the symptoms. The revelations caused considerable dismay among fans, leading to Gaga addressing the matter in an interview with Larry King, saying she hopes to avoid symptoms by maintaining a healthy lifestyle.[78][79]
Gaga released her second studio album and third major release, Born This Way, on May 23, 2011. Described as a marriage of electronic music with metal, rock 'n' roll, pop and anthemic style melodies with sledge-hammering dance beats and referred to as an album "about what what keeps us up at night and what makes us afraid," Gaga characterized it as "something so much deeper than a wig or lipstick or a fucking meat dress" and, upon hearing it, Akon remarked that she is taking music to the "next level."[80][81] Upon release, the album received generally positive reviews from music critics, who praised its range of different styles and her vocals.[82][83] Born This Way sold 1.108 million copies in its first week in the US, debuted atop the Billboard 200, and topped the charts in more than 20 other countries.[84] In addition to exceeding 8 million copies in worldwide sales, Born This Way received 3 Grammy Award nominations, including her third consecutive for Album of the Year.[85]
In the months prior to its unveiling, Gaga released the singles "Born This Way", "Judas" and "The Edge of Glory" alongside promotional single "Hair". The eponymous lead single, first sung live at the 53rd Grammy Awards in a performance that saw Gaga emerge from an egg-like vessel, deals with self-acceptance regardless of race or sexual orientation. The single debuted atop the Billboard Hot 100, becoming the 19th number-one debut and the 1,000th number-one single in the history of the charts.[86] It sold more than 3 million digital copies in the US by October 2011, becoming her eighth consecutive single to exceed sales of 2 million and, with worldwide sales of 8.2 million copies by November 2011, one of her five best-selling singles worldwide.[87] Critics noted artistic and cultural references and praised the concept of the song's accompanying music video, in which Gaga gives birth to a new race amidst surrealistic images.[88][89] The video for "Judas", in which Gaga portrays Mary Magdalene, and Biblical figures such as Jesus Christ and Judas Iscariot are also featured, was criticized for its religious references but received acclaim for its overall delivery and praise from others who claimed that there was nothing offensive about it.[90] "Judas" also peaked within the top ten in several major musical markets, while "The Edge of Glory", first a commercial success in digital outlets, was later released as a single to critical appreciation, accompanied by a video which was notably stripped down from her usually "extravagant" efforts.[91][92] She released "You and I" and "Marry the Night" as the following singles from Born This Way. Although their "crazy and ambitious" videos were praised for their audacity, both songs failed to match the similar international success that their predecessors achieved.[93]
Gaga continued her musical endeavors by pairing with veteran artists like Tony Bennett to record a jazz version of "The Lady Is a Tramp".[94] She also recorded a duet with Cher on a "massive" and "beautiful" track, which Gaga "wrote a long time ago, and I've never put it on one of my own albums for, really, no particular reason."[95] Gaga also lent her vocals to an original duet with Elton John for the animated feature film Gnomeo & Juliet. The song, "Hello, Hello", was released without Gaga's vocals but the duet version features in the film.[96][97] She also continued her live appearances throughout 2011, performing a one-of-a-kind concert at the Sydney Town Hall on July 13 in promotion of Born This Way and at the celebration of former US president Bill Clinton's 65th birthday, wearing a blond wig as a nod to the famous performance of Marilyn Monroe for John F. Kennedy and changing the lyrics to "You and I" specifically for the performance.[98] Televised appearances comprised her own Thanksgiving Day television special entitled A Very Gaga Thanksgiving which was critically lauded, attained 5.749 million American viewers, and spawned the release of her fourth extended play A Very Gaga Holiday.[99] Her second performance on Saturday Night Live saw her singing a selection of Born This Way songs alongside appearing in number of sketches with Justin Timberlake and Andy Samberg.[100] In March 2012, Gaga was ranked at number four on Billboard's list of top moneymakers of 2011, grossing $25,353,039 dollars, which includes sales from Born This Way and her Monster Ball Tour.[4]
In early 2012, Gaga stated that songs for a new album were "beginning to flourish" as she worked with producer Fernando Garibay, while the accompanying tour for Born This Way was materializing.[101][102] Gaga's manager, Vincent Herbert, revealed that Gaga will is working on her upcoming album during the tour, stating that the material is "insane, great records."[103] The Born This Way Ball Tour began on April 27, 2012, at the Olympic Stadium in Seoul, South Korea.[104] The tour was met with protests from several religious groups who denounced the tour as satanic and against religious values, resulting in protests mainly from the Islamic Defenders Front, causing a cancellation in the Indonesian city of Jakarta, where Gaga was denied a license to perform. The concert however was still in question as concert promoters were optimistic that the performance will in fact go on. However, due to threats of violence from Muslim hardliners, Gaga decided to cancel the concert although 52,000 tickets have sold out in just a few days.[105][106][107] On May 20, 2012, Gaga guest-starred on the 23rd season finale of The Simpsons entitled "Lisa Goes Gaga".[108]
Gaga's parents, who exposed her to artists like The Beatles, Stevie Wonder, Queen, Bruce Springsteen, Pink Floyd, The Grateful Dead, Led Zeppelin and Elton John had significant influence on her childhood and, presently, still do.[109] "I am a real family girl. When it comes to love and loyalty, I am very old-fashioned. And I am quite down-to-earth for such an eccentric person," she insists.[110] "I'm quite traditional in the family sense. I've always been that way."[109] According to Gaga, Joanne Germanotta – her aunt who died of lupus aged 19 – lives on through her and inspires all of her music and art.[111] Joanne's date of death is tattooed on Gaga's body and, despite dying 12 years before her birth, Gaga commented, "I really believe I have two hearts. I think I actually carry two souls in my body, and that I'm living out the rest of her life and her goodness – she died a virgin, she died never having experienced all these things that we all get to love and experience in our lives."[112] Another spiritual influence on Gaga has been the Indian physician, public speaker and writer Deepak Chopra. Labeling him a "true inspiration", she stated that "he's always reminded me to work in a life of service to my fans and to fulfill my vision and my destiny" in addition to thinking about Chopra when it comes to her work as a musician: "I want so much for it to go beyond the music for my fans."[113]
Musically, Gaga takes influence from numerous musicians from dance-pop singers like Madonna and Michael Jackson to glam rock artists like David Bowie and Queen whilst employing the theatrics of artists like Andy Warhol and of her musical theatre roots in performance.[31][114][115] The Queen song "Radio Ga Ga" inspired her stage name: "I adored Freddie Mercury and Queen had a hit called 'Radio Gaga'. That's why I love the name [...] Freddie was unique—one of the biggest personalities in the whole of pop music," she commented.[18][114][116] Gaga receives regular comparisons to recording artist Madonna who admits that she sees herself reflected in Gaga.[117] In response to the comparisons, Gaga stated, "I don't want to sound presumptuous, but I've made it my goal to revolutionize pop music. The last revolution was launched by Madonna 25 years ago" in addition to commenting that "there is really no one that is a more adoring and loving Madonna fan than me. I am the hugest fan personally and professionally."[114][118] Like Madonna, Gaga has continued to reinvent herself and, over the years of her career, has drawn musical inspiration from a diverse mix of artists including Whitney Houston, Grace Jones, Cyndi Lauper, Blondie singer Debbie Harry, Scissor Sisters, Prince, Marilyn Manson, Yoko Ono, and Britney Spears.[119]
Gaga has mentioned Spears in several interviews, and revealed, "Britney certainly doesn’t need any freakin’ tips from me! Britney Spears is the queen of pop. I was learning from her."[120] Gaga also paid tribute to Spears during the 2011 MTV Video Music Awards with the MTV Video Vanguard Award, adding that the pop singer "taught us all how to be fearless, and the industry wouldn't be the same without her."[121]
Gaga has identified fashion as a major influence and has been stylistically compared to English eccentrics Leigh Bowery and Isabella Blow and to American recording artist Cher.[14][26][110][122] She commented that "as a child, she somehow absorbed Cher's out-there fashion sense and made it her own."[122] She has considered Donatella Versace her muse and the late British fashion designer and close friend Alexander McQueen as an inspiration, admitting that "I miss Lee every time I get dressed" while channeling him in some of her work.[14][78] Modeled on Andy Warhol's Factory, Gaga has her own creative production team, which she handles personally, called the Haus of Gaga, who create many of her clothes, stage props, and hairdos.[123] Her adoration of fashion came from her mother, who she stated was "always very well kept and beautiful."[6] "When I'm writing music, I'm thinking about the clothes I want to wear on stage. It's all about everything altogether—performance art, pop performance art, fashion. For me, it's everything coming together and being a real story that will bring back the super-fan. I want to bring that back. I want the imagery to be so strong that fans will want to eat and taste and lick every part of us."[26] The Global Language Monitor named "Lady Gaga" as the Top Fashion Buzzword with her trademark "no pants" a close third.[124] Entertainment Weekly put her outfits on its end of the decade "best-of" list, saying, "Whether it's a dress made of Muppets or strategically placed bubbles, Gaga's outré ensembles brought performance art into the mainstream."[125] Gaga made her runway debut at Thierry Mugler's Paris fashion show in March 2011 where she wore items from Nicola Formichetti's debut women's wear collection.[126] In June of the same year, she won the Council of Fashion Designers of America Award for Fashion Icon.[127] Time Magazine placed Gaga on their "All-Time 100 Fashion Icons List" amongst some of Gaga's inspirations such as Michael Jackson, Madonna, and the The Beatles, stating: "Lady Gaga is just as notorious for her outrageous style as she is for her pop hits. After all, Gaga, born Stefani Germanotta, has sported outfits made from plastic bubbles, Kermit the Frog dolls, and raw meat."[128] She has since devoted her time as a fashion columnist for V magazine, where she has written about her creative process, her studying of the world of pop culture, and her ability to tune into the evolution of pop-culture meme.[129]
In August 2011 she sent to her 15 millions followers that she had at that time on Twitter, a quote about creativity from the book "Creativity"[130] by Osho,[131] which led journalists, on October 28, of the same year, on her arrival to India for the inauguration of a big Formula One motorsport event,[132] to ask her about her connection to him, to which Gaga said she was influenced by his work and that for her, "the creativity is the greatest way of rebellion": "Equality", she concluded, "is one of the most important things in my life".[133]
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A 30-second sample of Lady Gaga's "Just Dance" featuring the chorus sung by Lady Gaga and Colby O'Donis in the range of B3 to C♯, backed by a synth marching beat. The song became her first international hit single and sold 7.7 million copies worldwide.
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Continually experimenting with new musical ideas and images, Gaga's musical and performance style is the subject of much analysis and scrutiny from critics. She professes that she is "liberating" herself by constantly reinventing her sound and image, insisting that she has been drawn to such a practice since her childhood.[134] Vocally, Gaga possesses the range of a contralto and exhibits "overwhelming expression, instinctive vocal phrasing, '80s rock reminiscent chest belts and animalistic vocal ticks" while being able to move through 2.4 octaves.[135][136] Refusing to lip sync, Gaga – whose range is frequently compared to those of Madonna and Gwen Stefani – has manipulated her vocal style over the course of her career yet considers Born This Way (2011) "much more vocally up to par with what I've always been capable of."[137][138] In summation of her voice, Entertainment Weekly wrote, "There's an immense emotional intelligence behind the way she uses her voice. Almost never does she overwhelm a song with her vocal ability, recognizing instead that artistry is to be found in nuance rather than lung power."[139]
Although her early lyrics have been criticized for lacking intellectual stimulation, "[Gaga] does manage to get you moving and grooving at an almost effortless pace."[140] She admits that her songwriting has been misinterpreted; her friend and blogger Perez Hilton articulated her message in a clearer way: "you write really deep intelligent lyrics with shallow concepts." Gaga opined, "Perez is very intelligent and clearly listened to my record from beginning to end, and he is correct."[141] "I love songwriting. It's so funny – I will just jam around in my underwear or I could be washing my dishes. I wrote several songs just at the piano," she confesses.[141] Gaga believes that "all good music can be played at a piano and still sound like a hit."[142] She has covered a wide variety of topics in her songs: while The Fame (2008) meditates on the lust for stardom, The Fame Monster (2009) expresses fame's dark side through monster metaphors. Born This Way (2011) is sung in English, French, German and Spanish and includes common themes in Gaga's controversial songwriting like love, sex, religion, money, drugs, identity, liberation, sexuality, freedom and individualism.[143][144]
The structure of her music is said to echo classic 1980s pop and 1990s Europop.[145] Her debut album The Fame (2008) provoked The Sunday Times to assert "in combining music, fashion, art and technology, [Gaga] evokes Madonna, Gwen Stefani circa 'Hollaback Girl', Kylie Minogue 2001 or Grace Jones right now" and a critic from The Boston Globe to comment that she draws "obvious inspirations from Madonna to Gwen Stefani... in [her] girlish but sturdy pipes and bubbly beats."[146][147] Music critic Simon Reynolds wrote that "Everything about Gaga came from electroclash, except the music, which wasn't particularly 1980s, just ruthlessly catchy naughties pop glazed with Auto-Tune and undergirded with R&B-ish beats."[148] The follow-up The Fame Monster (2009), saw Gaga's taste for pastiche, drawing on "Seventies arena glam, perky ABBA disco and sugary throwbacks like Stacey Q" while Born This Way (2011) also draws on the records of her childhood and still has the "electro-sleaze beats and Eurodisco chorus chants" of its predecessor but includes genres as diverse as opera, heavy metal, disco, and rock and roll.[143] "There isn't a subtle moment on the album, but even at its nuttiest, the music is full of wide-awake emotional details," wrote Rolling Stone, who concluded: "The more excessive Gaga gets, the more honest she sounds."[144]
With constant costume changes, backup dancers, and provocative visuals, Gaga's music videos are often described as short films.[149] "Being provocative is not just about getting people's attention. It's about saying something that really affects people in a real way, in a positive way," she professes.[149] Exploring bondage and sadomasochism in addition to highlighting prevalent feminist themes, "the three central themes that shape Lady Gaga's music videos are sex, violence, and power."[150] "Vaudevillian and carnal, Lady Gaga has got the knack of sending rape-like fantasies—in songs and videos that double as catch club hits—to the top of the charts," wrote one critic.[151] "Whether it is physical violence or sexual exploitation, these videos offer vivid depictions of male power over women's bodies," wrote another.[150] While she labels herself "a little bit of a feminist" (she rejects man-hating feminism) and asserts that she is "sexually empowering women,"[151] Gaga strives to empower young women to stand up for what they believe in.[150] She also attempts to liberate her fans so they can feel "less alone."[152] "She not only reiterates her assertion of total originality," professed pop critic Ann Powers, "but also finesses it until it's both a philosophical stance about how constructing a persona from pop-cultural sources can be an expression of a person's truth—a la those drag queens Gaga sincerely admires—and a bit of a feminist act."[153] In summation of her videos, Rolling Stone used the rhetoric: "does anyone look to a Lady Gaga video for restraint?"[93]
Her performances are described as "highly entertaining and innovative"; the blood-spurting performance of "Paparazzi" at the 2009 MTV Video Music Awards was described as "eye-popping" by MTV.[154] She continued the "blood soaked" theme during The Monster Ball Tour, in which she wore a revealing leather corset and was "attacked" by a performer dressed in black who gnaws on her throat, causing "blood" to spurt down her chest, after which she lies "dying" in a pool of blood. Her performances of that scene in England triggered protests from family groups and fans in the aftermath of a local tragedy, in which a taxi driver had murdered 12 people.[155] "What happened in Bradford is very fresh in people's minds and given all the violence which happened in Cumbria just hours earlier, it was insensitive," said Lynn Costello of Mothers Against Violence.[156] Her unconventionality continued at the 2011 MTV Video Music Awards: performing in drag as her male alter ego, Jo Calderone, and delivering a lovesick monologue before a performance of her song "You and I".[157] Some have defended her flamboyant and provocative behavior. "Well, she's Lady Gaga," Chris Rock said. "She's not 'Lady Behave Yourself.' Do you want great behavior from a person named Gaga? Is this what you were expecting?"[158] As Gaga's choreographer and creative director, Laurieann Gibson provided material for her shows and videos for four years. However, the pair parted in November 2011; Gaga replacing her with Gibson's assistant Richard Jackson.[159] Gaga admits to being a perfectionist when it comes to her elaborate shows. "I'm very bossy. I can scream my head off if I see one light fixture out. I'm very detailed – every minute of the show has got to be perfect."[149]
While Rolling Stone named Gaga the "Queen of Pop" in 2011, public reception of Gaga's music, fashion sense and persona are mixed.[160] Her status as a role model, self-esteem booster for her fans, trailblazer and fashion icon who breathes new life into the industry is by turns affirmed and denied.[161] Gaga's albums have received mostly positive reviews and critics have pointed out her unique place in pop music, the need for new movements in popular culture, the attention Gaga brings to modern social issues, and the inherently subjective nature of her art.[162] In view of her influence on modern culture and her rise to global fame, sociologist Mathieu Deflem of the University of South Carolina has organized a course titled "Lady Gaga and the Sociology of Fame" since spring 2011 with the objective of unravelling "some of the sociologically relevant dimensions of the fame of Lady Gaga."[163] When Gaga briefly met with US president Barack Obama at a Human Rights Campaign fundraiser, he described the interaction as "intimidating" as she was dressed in 16-inch heels making her undoubtedly the tallest woman in the room.[164]
Contrary to her outré style, the New York Post described her early look as like "a refugee from Jersey Shore" with "big black hair, heavy eye makeup and tight, revealing clothes."[18] Gaga is a natural brunette; she bleached her hair blonde because she was often mistaken for Amy Winehouse.[6] She has nine tattoos on the left side of her body (her father has banned etchings on her right): a unicorn head with a ribbon wrapped around its horn that says "Born This Way"; a small heart with "dad" written inside it; several white roses; a treble clef; three daises; "Tokyo Love" with a little heart; "Little Monsters" written in cursive; a peace symbol, which was inspired by John Lennon, whom she stated was her hero; and a curling German script on her left arm quoting the poet Rainer Maria Rilke, her favorite writer, commenting that his "philosophy of solitude" spoke to her.[116][165] In a question posed about the necessary procedure to attach the prosthetics to give the unconventional appearance of recent horn-like ridges on her cheekbones, temples, and shoulders, Gaga responded, "They're not prosthetics, they're my bones." She also clarified that they were not the result of plastic surgery, believing such surgery to only be the modern byproduct of fame-induced insecurity to which she does not subscribe. The interviewer's further probing brought Gaga to the conclusion that they are an artistic representation of her inner inspirational light and part of the "performance piece" that is her musical persona: an inevitability of her becoming who she now is.[166]
Towards the end of 2008, comparisons were made between the fashions of Gaga and recording artist Christina Aguilera that noted similarities in their styling, hair, and make-up.[14] Aguilera stated that she was "completely unaware of [Gaga]" and "didn't know if it [was] a man or a woman."[14] Gaga released a statement in which she welcomed the comparisons due to the attention providing useful publicity, saying, "She's such a huge star and if anything I should send her flowers, because a lot of people in America didn't know who I was until that whole thing happened. It really put me on the map in a way."[167][168] When interviewed by Barbara Walters for her annual ABC News special 10 Most Fascinating People in 2009, Gaga dismissed the claim that she is intersex as an urban legend. Responding to a question on this issue, she stated, "At first it was very strange and everyone sorta said, 'That's really quite a story!' But in a sense, I portray myself in a very androgynous way, and I love androgyny."[169] In addition to Aguilera's statement, comparisons continued into 2010, when Aguilera released the music video of her single "Not Myself Tonight". Critics noted similarities between the song and its accompanying music video with Gaga's video for "Bad Romance".[170] There have also been similar comparisons made between Gaga's style and that of fashion icon Dale Bozzio from the band Missing Persons. Some have considered their respective images to be strikingly parallel although fans of Missing Persons note that Bozzio had pioneered the look more than thirty years earlier.[171]
While devout followers call Gaga "Mother Monster", Gaga often refers to her fans as "Little Monsters" which has been tattooed on "the arm that holds my mic" in dedication.[172][173] Her treatment of her "Little Monsters" has inspired criticism, due to the highly commercial nature of her music and image.[174] To some, this dichotomy contravenes the concept of outsider culture. Camille Paglia in her 2010 cover story "Lady Gaga and the death of sex" in The Sunday Times asserts that Gaga "is more an identity thief than an erotic taboo breaker, a mainstream manufactured product who claims to be singing for the freaks, the rebellious and the dispossessed when she is none of those."[175][176] Writing for The Guardian, Kitty Empire opined that the dichotomy "...allows the viewer to have a 'transgressive' experience without being required to think. At [her performance's] core, though, is the idea that Gaga is at one with the freaks and outcasts. The Monster Ball is where we can all be free. This is arrant nonsense, as the scads of people buying Gaga's cunningly commercial music are not limited to the niche worlds of drag queens and hip night creatures from which she draws her inspiration. But Gaga seems sincere."[177]
Besides her career in music, Gaga has also contributed to various charities. For natural disasters, Gaga has helped various relief efforts. Although declining an invitation to appear on the single "We Are the World 25" to benefit victims of the 2010 Haiti earthquake, she donated the proceeds of her January 24, 2010 concert at New York's Radio City Music Hall to the country's reconstruction relief fund.[178] All profits from her official online store on that day were also donated. Gaga announced that an estimated total of US$500,000 was collected for the fund.[179] Hours after the 2011 Tōhoku earthquake and tsunami hit Japan on March 11, 2011, Gaga tweeted a message and a link to Japan Prayer Bracelets. All revenue from a bracelet she designed in conjunction with the company was donated to relief efforts.[180] As of March 29, 2011, the bracelets raised $1.5 million.[181] However, attorney Alyson Oliver filed a lawsuit against Gaga in Detroit in June 2011, noting that the bracelet was subject to a sales tax and an extra $3.99 shipping charge was added to the price. She also believed that not all proceeds from the bracelets would go to the relief efforts, demanding a public accounting of the campaign and refunds for people who had bought the bracelet. Gaga's spokesperson called the lawsuit "meritless" and "misleading".[182] On June 25, 2011, Gaga performed at MTV Japan's charity show in Makuhari Messe, which benefited the Japanese Red Cross.[183]
Gaga also contributes in the fight against HIV and AIDS, focusing on educating young women about the risks of the disease. In collaboration with Cyndi Lauper, Gaga joined forces with MAC Cosmetics to launch a line of lipstick under their supplementary cosmetic line, Viva Glam. Titled Viva Glam Gaga and Viva Glam Cyndi for each contributor respectively, all net proceeds of the lipstick line were donated to the cosmetic company's campaign to prevent HIV and AIDS worldwide.[184] In a press release, Gaga declared, "I don't want Viva Glam to be just a lipstick you buy to help a cause. I want it to be a reminder when you go out at night to put a condom in your purse right next to your lipstick."[185] The sales of Gaga-endorsed Viva Glam lipstick and lipgloss have raised more than $202 million to fight HIV and AIDS.[3]
As a humanitarian, she has launched her own non-profit organization, the Born This Way Foundation, which focuses on youth empowerment and issues like self-confidence, well-being, anti-bullying, mentoring, and career development. "My mother and I have initiated a passion project. We call it the Born This Way Foundation," Gaga said in a statement about the foundation, which takes its name from the 2011 single and album. "Together we hope to establish a standard of Bravery and Kindness, as well as a community worldwide that protects and nurtures others in the face of bullying and abandonment." The foundation will work with a number of partners, including the John D. and Catherine T. MacArthur Foundation, The California Endowment and the Berkman Center for Internet & Society at Harvard University.[186] She also jumped into the debate surrounding SB 1070, Arizona's recently-enacted anti-immigration law, after premiering her Born This Way song "Americano" on the Guadalajara stop of The Monster Ball Tour in Mexico, telling the local press that she could not "stand by many of the unjust immigration laws" in the US.[187] A devoted advocate for the LGBT community, Gaga is also an outspoken activist for LGBT rights worldwide.[188] On February 29, 2012, Gaga and Oprah Winfrey visited Harvard University to launch her Born This Way Foundation.
Gaga attributes much of her early success as a mainstream artist to her gay fans and is considered to be a gay icon.[189] Early in her career she had difficulty getting radio airplay, and stated, "The turning point for me was the gay community. I've got so many gay fans and they're so loyal to me and they really lifted me up. They'll always stand by me and I'll always stand by them. It's not an easy thing to create a fanbase."[190] She thanked FlyLife, a Manhattan-based LGBT marketing company with whom her label Interscope works, in the liner notes of The Fame, saying, "I love you so much. You were the first heartbeat in this project, and your support and brilliance means the world to me. I will always fight for the gay community hand in hand with this incredible team."[191] One of her first televised performances was in May 2008 at the NewNowNext Awards, an awards show aired by the LGBT television network Logo, where she sang her song "Just Dance".[192] In June of the same year, she performed the song again at the San Francisco Pride event.[193]
After The Fame was released, she revealed that the song "Poker Face" was about her bisexuality. In an interview with Rolling Stone, she spoke about how her boyfriends tended to react to her bisexuality, saying "The fact that I'm into women, they're all intimidated by it. It makes them uncomfortable. They're like, 'I don't need to have a threesome. I'm happy with just you'."[33] When she appeared as a guest on The Ellen DeGeneres Show in May 2009, she praised DeGeneres for being "an inspiration for women and for the gay community".[194] She proclaimed that the October 11, 2009 National Equality March rally on the National Mall was "the single most important event of her career." As she exited, she left with an exultant "Bless God and bless the gays,"[195] similar to her 2009 MTV Video Music Awards acceptance speech for Best New Artist a month earlier.[196] At the Human Rights Campaign Dinner, held the same weekend as the rally, she performed a cover of John Lennon's "Imagine" declaring that "I'm not going to [play] one of my songs tonight because tonight is not about me, it's about you." She changed the original lyrics of the song to reflect the death of Matthew Shepard, a college student murdered because of his sexuality.[197]
Gaga attended the 2010 MTV Video Music Awards accompanied by four service members of the United States Armed Forces (Mike Almy, David Hall, Katie Miller and Stacy Vasquez), all of whom, under the United States military's "Don't ask, don't tell" (DADT) policy, had been prohibited from serving openly because of their sexuality.[198] In addition, Gaga wore a meat dress to the ceremony which was supplemented by boots, a purse and a hat that were all fabricated from the flesh of a dead animal.[199] Partly awarded in recognition of the dress, Vogue.com UK named her one of the Best Dressed people of 2010 while Time magazine's named the dress the Fashion Statement of 2010, it received divided opinions – evoking the attention of worldwide media but invoking the fury of animal rights organization PETA.[200][201][202] She denied any intention of causing disrespect to any person or organization and wished for the dress to be interpreted as a statement of human rights with focus upon those in the LGBT community, adding that "If we don't stand up for what we believe in and if we don't fight for our rights, pretty soon we're going to have as much rights as the meat on our own bones."[203]
She later released three videos on YouTube urging her fans to contact their Senators in an effort to overturn the policy. In late September 2010 she spoke at the Servicemembers Legal Defense Network's "4the14K" Rally in Deering Oaks Park in Portland, Maine. The name of the rally signified the number – an estimated 14,000 – of service members discharged under the DADT policy at the time. During her remarks, she urged members of the U.S. Senate (and in particular, moderate Republican Senators from Maine, Olympia Snowe and Susan Collins) to vote in favor of legislation that would repeal the DADT policy. Following this event, editors of The Advocate commented that she had become "the real fierce advocate" for gays and lesbians, one that Barack Obama had promised to be.[204][205]
Gaga appeared at Europride, a pan-European international event dedicated to LGBT pride, held in Rome in June 2011. In a nearly twenty-minute speech, she criticized the intolerant state of gay rights in many European countries and described homosexuals as "revolutionaries of love" before performing acoustic renderings of "Born This Way" and "The Edge of Glory" in front of thousands at the Circus Maximus.[206][207] She stated that "Today and every day we fight for freedom. We fight for justice. We beckon for compassion, understanding and above all we want full equality now".[208] Gaga revealed that she is often questioned why she dedicates herself to "gayspeak" and "how gay" she is, to which, she told the audience: "Why is this question, why is this issue so important? My answer is: I am a child of diversity, I am one with my generation, I feel a moral obligation as a woman, or a man, to exercise my revolutionary potential and make the world a better place." She then joked: "On a gay scale from 1 to 10, I'm a Judy Garland fucking 42."[209]
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Persondata | |
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Name | Germanotta, Stefani Joanne Angelina |
Alternative names | Lady Gaga |
Short description | American pop singer |
Date of birth | March 28, 1986 |
Place of birth | New York City, New York, U.S. |
Date of death | |
Place of death |
Louis Armstrong | |
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![]() Louis Armstrong's stage personality matched his flashy cornet and trumpet playing. Armstrong is also known for his raspy singing voice. |
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Background information | |
Birth name | Louis Armstrong |
Born | August 4, 1901 New Orleans, Louisiana, U.S. |
Died | July 6, 1971(1971-07-06) (aged 69) Corona, Queens, New York City, U.S. |
Genres | Dixieland, jazz, swing, traditional pop |
Occupations | Musician |
Years active | c. 1914–71 |
Associated acts | Joe "King" Oliver, Ella Fitzgerald, Kid Ory, Bobby Hackett |
Louis Armstrong[1] (August 4, 1901 – July 6, 1971),[2] nicknamed Satchmo[3] 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 music 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 black man. 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.[citation needed]
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Armstrong often stated that he was born on July 4, 1900,[4] 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.[5]
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 the 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, where he likely had early exposure to 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 who 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,[6] 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.”[7]
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.[8] 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."[9] 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."[10]
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)[11] 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.[12] 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.[13]
On March 19, 1918, Louis married Daisy Parker from Gretna, Louisiana. They adopted a 3-year-old boy, Clarence Armstrong, whose mother, Louis' 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.[14] Louis' 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.[15] 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.[16] 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' 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.[17] 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.[18] 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 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.[19] 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."[20] 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!"[21]
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 or white, were turned on by Armstrong’s new type of jazz.[22]
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,[23] 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.[24]
Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows,[25] 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.[26] 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.[27] 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.[28] 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.[29] 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.
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, Joe Darensbourg 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.[30]
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.
Armstrong died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday,[31] and 11 months after playing a famous show at the Waldorf-Astoria's Empire Room.[32] He was residing in Corona, Queens, New York City, at the time of his death.[33] He was interred in Flushing Cemetery, Flushing, in Queens, New York City.[34]
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.[35] 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.[36]
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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 America that gave even the greatest African American performers little access beyond their public celebrity, that he was able to live privately 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 black 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.
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. Another tale is that because of his large mouth, he was nicknamed "satchel mouth" which became shortened to Satchmo.
Early on he was also known as Dipper, short for Dippermouth, a reference to the piece Dippermouth Blues.[37] and something of a riff on his unusual embouchure.
The nickname Pops came from Armstrong's own tendency to forget people's names and simply call them "pops" instead. The nickname was soon turned on Armstrong himself. It was used as the title of a 2010 biography of Armstrong by Terry Teachout.
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.[38]
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.[39]
Billie Holiday countered, however, "Of course Pops toms, but he toms from the heart."[40]
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.[41] Six days after Armstrong's comments, Eisenhower ordered Federal troops to Little Rock to escort students into the school.[42]
The FBI kept a file on Armstrong, for his outspokenness about integration.[43]
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.[44] 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,[44] 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.
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!'")[45] The cards have sometimes been incorrectly described as ads for Swiss Kriss.[46]
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.)[47]
The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey,"[48] though "Struttin’ with Some Barbecue" was written about a fine-looking companion, not about food.[49] He kept a strong connection throughout his life to the cooking of New Orleans, always signing his letters, "Red beans and ricely yours..."[50]
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.[51] He had a fondness for lewd jokes and dirty limericks as well.
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.[52]
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.[53]
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.
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:
Crosby... was important in introducing into the mainstream of popular singing an Afro-American concept of song as a lyrical extension of speech... His techniques - easing the weight of the breath on the vocal cords, passing into a head voice at a low register, using forward production to aid distinct enunciation, singing on consonants (a practice of black singers), and making discreet use of appoggiaturas, mordents, and slurs to emphasize the text - were emulated by nearly all later popular singers.
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.
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"[54] alongside his friend, the Eritrean-born Italian singer Lara Saint Paul.[55] 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.[56]
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".
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 him 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.
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.[57] In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), Armstrong played himself as well as singing and playing several classic numbers. With Danny Kaye Armstrong performed a duet of "When the Saints Go Marching In" during which Kaye impersonated Armstrong. Armstrong also had a part in the film alongside James Stewart in The Glenn Miller Story in which Glenn (played by Stewart) jammed with Armstrong and a few other noted musicians of the time.
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.
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 video games. "A Kiss to Build a Dream On" was included in the video 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[jargon] 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 (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" (The Great Cronopio).
Armstrong appears as a minor fictionalized 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 fictionalized 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 1980s Stardust Memories in which Woody Allen is overwhelmed by a recording of Armstrong's Stardust and experiences a nostalgic epiphany.[58] 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.[59]
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.[60]
Grammy Award | |||||
Year | Category | Title | Genre | Label | Result |
---|---|---|---|---|---|
1964 | Male Vocal Performance | "Hello, Dolly!" | Pop | Kapp | Winner |
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."[61][62]
Grammy Hall of Fame | |||||
Year recorded | Title | Genre | Label | Year inducted | Notes |
---|---|---|---|---|---|
1929 | "St. Louis Blues" | Jazz (Single) | OKeh | 2008 | with Bessie Smith |
1928 | "Weather Bird" | Jazz (Single) | OKeh | 2008 | with Earl Hines |
1930 | "Blue Yodel #9 (Standing on the Corner)" |
Country (Single) | Victor | 2007 | Jimmie Rodgers (Featuring Louis Armstrong) |
1932 | "All of Me" | Jazz (Single) | Columbia | 2005 | |
1958 | Porgy and Bess | Jazz (Album) | Verve | 2001 | with Ella Fitzgerald |
1964 | "Hello Dolly!" | Pop (Single) | Kapp | 2001 | |
1926 | "Heebie Jeebies" | Jazz (Single) | OKeh | 1999 | |
1968 | "What a Wonderful World" | Jazz (Single) | ABC | 1999 | |
1955 | "Mack the Knife" | Jazz (Single) | Columbia | 1997 | |
1925 | "St. Louis Blues" | Jazz (Single) | Columbia | 1993 | Bessie Smith with Louis Armstrong, cornet |
1928 | "West End Blues" | Jazz (Single) | OKeh | 1974 |
The Rock and Roll Hall of Fame listed Armstrong's West End Blues on the list of 500 songs that shaped Rock and Roll.[63]
Year recorded | Title | Label | Group |
---|---|---|---|
1928 | West End Blues | Okeh | Louis Armstrong and his Hot Five |
In 1995, the U.S. Post Office issued a Louis Armstrong 32 cents commemorative postage stamp.
Year inducted | Title | Results | Notes |
---|---|---|---|
2007 | Louisiana Music Hall of Fame | ||
2007 | Gennett Records Walk of Fame, Richmond, Indiana | ||
2007 | Long Island Music Hall of Fame | ||
2004 | Nesuhi Ertegün Jazz Hall of Fame at Jazz at Lincoln Center |
||
1990 | Rock and Roll Hall of Fame | Early influence | |
1978 | Big Band and Jazz Hall of Fame | ||
1952 | Down Beat Jazz Hall of Fame | ||
1960[64] | Hollywood Walk of Fame | Star | at 7601 Hollywood Blvd. |
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.[65] 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. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Duke Ellington said, "If anybody was a master, it was Louis Armstrong." In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America."
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.[66]
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.[67]
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.
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'swill.
The museum opened to the public on October 15, 2003. A new visitors center is planned.[68]
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Persondata | |
---|---|
Name | Armstrong, Louis |
Alternative names | Satchmo |
Short description | American Jazz trumpeter and singer |
Date of birth | (1900-07-04)July 4, 1900 |
Place of birth | New Orleans, Louisiana, U.S. |
Date of death | July 6, 1971(1971-07-06) |
Place of death | New York City, New York, U.S. |