- published: 15 Feb 2016
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This article is about the New Orleans district. For other things named "Storyville" see Storyville (disambiguation).
Storyville was the red-light district of New Orleans, Louisiana, from 1897 through 1917. Locals usually simply referred to the area as The District.
The nickname Storyville was in reference to city alderman Sidney Story, who wrote the legislation setting up the district. It was bounded by Iberville, Basin, St. Louis, and N. Robertson streets. Most of this former district is now occupied by the Iberville Housing Projects, two blocks inland from the French Quarter.
The District was set up to limit prostitution to one area of town where authorities could monitor and regulate the practice. In the late 1890s, the New Orleans city government studied the legalized red light districts of northern German and Dutch ports and set up Storyville based on such models. Between 1895 and 1915, "blue books" were published in Storyville. These books were guides to prostitution for visitors to the district's services including house descriptions, prices, particular services and the "stock" each house had to offer. The Storyville blue-books were inscribed with the motto: "Order of the Garter: Honi Soit Qui Mal Y Pense (Shame to Him Who Evil Thinks)."
Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana.
Coming to prominence in the 1920s as an "inventive" cornet and trumpet player, Armstrong was a foundational influence in jazz, shifting the music's focus from collective improvisation to solo performance. With his instantly recognizable deep and distinctive gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also greatly skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over," whose skin-color was secondary to his 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]