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American people,
they the most grandest people on Earth.
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And I'm from America,
well, quite naturally,
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I don't have no fucking flag
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other than a Black flag.
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In New Orleans, we're, quite naturally,
the first band on the radio down there…
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And then she married Willie Armstrong.
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I mean, I'm only going by
what they tell me along that line.
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'Cause as long as I can remember,
they wasn't together.
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Down in the district,
the red-light district.
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As you call them, "prostitutes,"
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where they get five dollars for a job,
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the whores where I'm talking about,
up in my neighborhood,
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they get 50 cents to a dollar.
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We could, yes.
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Because he organized quartets, singing,
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then he introduced dancing out there,
tap dancing.
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The boys would clap and sing,
and he'd sing and dance.
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Then when I did get him to play
"When the Saints Go Marching In,"
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"Put On Your Old Grey Bonnet,"
there was a high note to be out on
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because it was at the end of the strain.
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None of the other boys couldn't make it.
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And I couldn't make it myself.
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But he would blow the high C
above the staff
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to let us know
that's the end of the strain.
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And I was taught to play that tune
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with every spark I had in my soul.
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On our lands we was taught.
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And when we play it,
that's the feeling I have.
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And then they hoist that flag.
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Do you have a happy feeling
when you play that song?
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I feel that I'm somebody.
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When I finish playing
"Star-Spangled Banner,"
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I feel just as proud as anybody
that ever picked up a gun,
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shouldered a rifle,
and said, "Forward march."
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And I carried his cornet
when he wasn't blowing and marching.
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And the police would have been
running me out the parade.
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You know, I stayed with him on it.
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But that's my man.
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You play in that hot sun,
you know, with that uniform on,
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and he put a hanky on his neck
to keep the sun off his neck.
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And he was really blowing that horn.
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Chicago was about
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the second most popular section
for Black people in the country.
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It was a great migration point
where people went off
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from Alabama, Mississippi, Arkansas.
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You could walk to Chicago,
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just keep walking
if you had enough muscles in your legs.
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I listened very carefully when Lil told me
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to always play the lead.
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He played 30
or 50 high notes, high C's,
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on this one tune they were playing.
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And the next day, everybody on the street
was talking about it.
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In 1932, first time I went to Europe.
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We used to travel by boats.
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Johnny Collins was my manager then.
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Joe Glaser's a nigga.
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Joe Glaser loves Negroes.
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He was raised with niggas.
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He went to school with them.
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You know, I always felt
there was a weird relationship
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between Joe Glaser and Louis.
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And I felt Louis was exploited.
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Louis believes that he never would've
made it without Joe Glaser.
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-I think he wouldn't have.
-You think that's possible?
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-Quite possible.
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You got to have good management.
I don't care how great you are.
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Good management goes
hand in hand with success and talent.
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He never wanted anything
to do with business, right?
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He never even hired the guys in his band.
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He just wanted to concentrate
on that horn.
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At five o'clock in the morning,
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Louis Armstrong had to be rushed
to the hospital.
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In Memphis, at the bus station,
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they claimed that the bus
needed some work done on it
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and they were gonna take it back
to have it overhauled.
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At that particular time,
all the guys in Louis's band were young
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and just about as obstinate
a bunch of people
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as you ever met in your life
if they thought they were right.
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When nobody would give up the bus,
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then they sent for the police
and arrested us for inciting a riot.
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With the intention of burning up
all of our baggage and everything,
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luggage and everything,
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and putting us in the hoosegow,
which they did.
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They arrested us all.
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Some guy asked me,
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he said,
"Man, you're gonna take Jack Teagarden?"
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I said "Now, who am I to tell a white man
he can't go down South?"
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I didn't appreciate it. I'm just showing
you what I go through for no reason.
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You take the smallest fucking peckerwood,
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hand you that shit,
and the big bosses appreciate you.
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First time you misplace words
and do that shit,
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they gonna say you Uncle Tomming.
And goddamn it--
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And every fucking nationality comedian
stays right in this category.
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Look at the Jew,
doesn't he use his dialect?
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I ain't supposed to be no comedian.
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That's just everyday life, you know.
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"Suppose" my ass.
You are a natural comedian.
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Yeah, well, that's all right.
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Archie got his nose broke
for fighting a nigga
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'cause he didn't like
the way he talked about me.
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This smug motherfucker said,
"Louis Armstrong,
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Uncle Tom nigga."
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01:18:14,486 --> 01:18:17,573
When the fuck have I "Uncle Tommed"
in my life?
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I tell ya. All you have to do is
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break up your face and mug,
and a nigga say you're Uncle Tom.
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01:18:22,828 --> 01:18:26,081
-I'm there blowing this fucking horn…
-A man got expressions, you know?
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01:29:27,159 --> 01:29:31,288
The simple emotional impact of jazz
has cut through all kinds of barriers.
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Louis Armstrong has become
an extraordinary kind of
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roaming ambassador of goodwill.
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Well, you might say
he's America's ambassador with a horn.
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See, Jack, I think you're wrong
about me being the ambassador.
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01:29:53,185 --> 01:29:56,104
I think jazz is the ambassador.
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01:29:56,188 --> 01:30:00,734
Well, I might be the courier
that takes the message over there.
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01:30:00,817 --> 01:30:03,654
But it's jazz that does the talking.
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My horn and me have traveled
from Sweden to Spain,
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and when I played Berlin,
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a lot of them cats jumped the iron fence
to hear old Satchmo.
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01:30:15,541 --> 01:30:18,669
Which proves
that music is stronger than nations.
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I don't know much about politics,
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but I know these people
in foreign countries
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hear all kinds of things about America,
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some good, some bad.
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I'm pretty sure
what comes out of this horn
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makes them feel better about us.
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01:30:35,394 --> 01:30:38,772
One thing is sure, they know
a trumpet ain't no cannon.
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A man going into intensive care twice,
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you know, he's looking right at Gabriel,
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and he's calling me.
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He wants to blow a duet with me.
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But I said, "No, daddy,
your union card ain't straight.
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I better wait."
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