Thank you for showing me the light - definitely need to pay a visit! Great series of photos. I also love that they have spam!agfox.com/blog/wp-includes/expunging/3262.php
Collection Monsieur Madame (Mr Men & Little Miss): M. Bing by Roger Hargreaves (Paperback, 2008)
So hungry right now. OMG - jian bing!!! This is the thing I miss most about living in Beijing. I used to have this nearly every day for lunch. The best jian bing makers disappeared in the clean-up before the Olympics, and it has become so hard to find good jian bing on the streets of Beijing now. Next time I come down to Sydney, I'm going straight here from the airport!
How did we miss, we were just in Sydney! We love crepes and this is definitely a must-try in our list! Great action photos of the pancake being made! I've never seen pancakes being made like this before. They certainly aren't small! This street food seems very good value xx. Was wondering about this place when I saw it from the bus. And someone give that girl an electric fan, it looks like it may be hot in there! This really does sound like the best of both worlds - Crepe-cross-omelette AND all the goodness of you tiao. What an innovative, attractive style of street food!
Ah these look so good! I was invited to the Perth launch of a jianbing store with promises of being able to make them gluten free as they use gluten free flour however I had to cancel as I learnt that they use the same cook plate as for the normal flour meaning there would be cross contamination. Never been to Beijing or up until now, heard of juan bing so thanks for sharing.
I love buying jian bing from the street stalls when I'm in China. Must check out this place too. Ah I absolutely love your pancake action shots!! Mr Bing's is officially on my list of places to try. She is a freelance food writer with a love of cheap eats, offal and fried chicken. Read more about Helen or send an email. Subscribe to Grab Your Fork Receive automatic updates to your inbox by entering your email address:. The jianbing is a streetside snack you'll find all over Beijing and Taipei, a thin pancake or crepe cooked to order and eaten hot and fresh off the griddle.
They come with all kinds of fillings, but a cracked egg is mandatory, the egg yolk and egg white swirled across the top so you get an omelette and pancake all-in-one. Mr Bing , a self-declared Asian Wrap Artist heh , only opened late last year but has quickly gathered a loyal uni student following.
How have you missed them? Broadway Shopping Centre is only a few hundred metres away. The Chinese-style jianbing pancakes include the classic you tiao fried bread stick as well as meatier variations including a peanut chicken Chookie Run , beef patty Moo the Cow and Korean barbecue pork Miss Kim. Spreading the pancake batter on the hot plate The open window gives you a standing view of all the kitchen action.
The griddles you often see used for French-style crepes are repurposed here for making jianbing. They even use the same wooden paddles. Flattened pancake First goes a ladleful of pancake batter, smoothed out to an even thinness. He did return to New Orleans periodically. He also became second trumpet for the Tuxedo Brass Band.
Throughout his riverboat experience, Armstrong's musicianship began to mature and expand. At twenty, he could read music. He became one of the first jazz musicians to be featured on extended trumpet solos, injecting his own personality and style. He started singing in his performances. With Oliver's Creole Jazz Band he could make enough money to quit his day jobs.
Although race relations were poor, Chicago was booming. The city had jobs for blacks making good wages at factories with some left over for entertainment. Oliver's band was among the most influential jazz bands in Chicago in the early s. Armstrong lived luxuriously in his own apartment with his first private bath. Excited as he was to be in Chicago, he began his career-long pastime of writing letters to friends in New Orleans.
Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to cutting contests by other musicians. His first studio recordings were with Oliver for Gennett Records on April 5—6, They endured several hours on the train to remote Richmond, Indiana , and the band was paid little. The quality of the performances was affected by lack of rehearsal, crude recording equipment, bad acoustics, and a cramped studio.
In addition, Richmond was associated with the Ku Klux Klan. Lil Hardin Armstrong urged him to seek more prominent billing and develop his style apart from the influence of Oliver. She encouraged him to play classical music in church concerts to broaden his skills.
She prodded him into wearing more stylish attire to offset his girth. Her influence eventually undermined Armstrong's relationship with his mentor, especially concerning his salary and additional money that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in He switched to the trumpet to blend in better with the other musicians in his section. His influence on Henderson's tenor sax soloist, Coleman Hawkins , can be judged by listening to the records made by the band during this period. Armstrong adapted to the tightly controlled style of Henderson, playing trumpet and experimenting with the trombone.
The other members were affected by Armstrong's emotional style. His act included singing and telling tales of New Orleans characters, especially preachers. Duke Ellington's orchestra went to Roseland to catch Armstrong's performances. Young musicians tried to outplay him but split their lips in their attempts.
In , Armstrong returned to Chicago largely at the insistence of Lil, who wanted to expand his career and his income. In publicity, much to his chagrin, she billed him as "the World's Greatest Trumpet Player". For a time he was a member of the Lil Hardin Armstrong Band and working for his wife. The word "muggles" was a slang term for marijuana, something he used often during his life.
Cyr banjo , Lil Armstrong on piano, and usually no drummer. Over a twelve-month period starting in November , this quintet produced twenty-four records.
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Cyr noted, "One felt so relaxed working with him, and he was very broad-minded His recordings soon after with pianist Earl "Fatha" Hines most famously their "Weather Bird" duet and Armstrong's trumpet introduction to and solo in "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. 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 nonsensical words and was among the first to record it, on the Hot Five recording " Heebie Jeebies " in The recording was so popular that the group became the most famous jazz band in the United States, even though they had not performed live to any great extent.
Young musicians across the country, black or white, were turned on by Armstrong's new type of jazz. Hines and Armstrong became fast friends and successful collaborators. In the first half of , Armstrong assembled his Hot Seven group, which added drummer Al "Baby" Dodds and tuba player, Pete Briggs, while preserving most of his original Hot Five lineup. John Thomas replaced Kid Ory on trombone.
Later that year he organized a series of new Hot Five sessions which resulted in nine more records. In the last half of , he started recording with a new group: Armstrong returned to New York in , where he played in the pit orchestra for the musical Hot Chocolates , an all-black revue written by Andy Razaf and pianist 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 became his biggest selling record to date. Armstrong started to work at Connie's Inn in Harlem, chief rival to the Cotton Club , a venue for elaborately staged floor shows,  and a front for gangster Dutch Schultz.
Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His s recordings took full advantage of the new RCA ribbon microphone , introduced in , 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 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 encapsulated many features of his groundbreaking approach to melody and phrasing.
The song begins with a brief trumpet solo, then the main melody is introduced by sobbing horns, memorably punctuated by Armstrong's growling interjections at the end of each bar: 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 gravelly 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 Great Depression of the early s was especially hard on the jazz scene. The Cotton Club closed in 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.
Armstrong moved to Los Angeles in to seek new opportunities. 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 , Armstrong appeared in his first movie, Ex-Flame and was also convicted of marijuana possession but received a suspended sentence. When the mob insisted that he get out of town,  Armstrong visited New Orleans, had a hero's welcome, and saw old friends.
He sponsored a local baseball team known as Armstrong's Secret Nine and had a cigar named after him. After a tour across the country shadowed by the mob, he fled to Europe. After returning to the United States, he undertook several exhausting tours. His agent Johnny Collins's erratic behavior and his own spending ways left Armstrong short of cash.
Breach of contract violations plagued him. 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 hit Pennies from Heaven. After spending many years on the road, Armstrong settled permanently in Queens, New York in 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.
During the next 30 years, Armstrong played more than performances a year. Bookings for big bands tapered off during the s due to changes in public tastes: It became impossible under such circumstances to finance a piece touring band. During the s, a widespread revival of interest in the traditional jazz of the s made it possible for Armstrong to consider a return to the small-group musical style of his youth.
The new group was announced at the opening of Billy Berg's Supper Club. 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, By the s, Armstrong was a widely beloved American icon and cultural ambassador who commanded an international fanbase.
However, a growing generation gap became apparent between him and the young jazz musicians who emerged in the postwar era such as Charlie Parker , Miles Davis , and Sonny Rollins.
The postwar generation regarded their music as abstract art and considered Armstrong's vaudevillian style, half-musician and half-stage entertainer, outmoded and Uncle Tomism , " Guys who invent terms like that are walking the streets with their instruments under their arms. In the s, he toured Ghana and Nigeria. After finishing his contract with Decca Records , he became a freelance artist and recorded for other labels. In , after over two years without setting foot in a studio, he recorded his biggest-selling record, " Hello, Dolly!
Armstrong's version remained on the Hot for 22 weeks, longer than any other record produced that year, and went to No. In the process, he dislodged the Beatles from the No. Armstrong kept touring well into his 60s, even visiting part of the communist bloc in By , he was approaching 70 and his health began to give out. He suffered heart and kidney ailments that forced him to stop touring. He did not perform publicly at all in and spent most of the year recuperating at home.
Meanwhile, his longtime manager Joe Glaser died. By the summer of , his doctors pronounced him fit enough to resume live performances. He embarked on another world tour, but a heart attack forced him to take a break for two months. Armstrong made his last recorded trumpet performances on his album Disney Songs the Satchmo Way.
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Judging from home recorded tapes now in our Museum Collections, Louis pronounced his own name as "Lewis". Many broadcast announcers, fans, and acquaintances called him "Louie" and in a videotaped interview from Lucille Armstrong calls her late husband "Louie" as well.
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Musicians and close friends usually called him "Pops". In a memoir written for Robert Goffin between and , Armstrong states, "All white folks call me Louie", suggesting that he himself did not. On various live records he's called "Louie" on stage, such as on the "Can Anyone Explain?
He started the affair as a client. He returned to Gretna on several occasions to visit her. He found the courage to look for her home to see her away from work. It was on this occasion that he found out that she had a common-law husband. Not long after this fiasco, Parker traveled to Armstrong's home on Perdido Street. Clarence Armstrong was mentally disabled as the result of a head injury at an early age, and Armstrong spent the rest of his life taking care of him.
She had divorced her first husband a few years earlier. His second wife helped him develop his career, but they separated in and divorced in Armstrong then married Alpha Smith. Louis then married Lucille Wilson in October , a singer at the Cotton Club , to whom he was married until his death in Armstrong's marriages never produced any offspring, though he loved children. Armstrong was noted for his colorful and charismatic personality.
His autobiography vexed some biographers and historians, as 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. In addition to an entertainer, Armstrong was a leading personality of the day.
He was beloved by an American public that gave even the greatest African American performers little access beyond their public celebrity, and he was able to live a private life of access and privilege afforded to few other African Americans during that era. He generally remained politically neutral, which at times 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 movement.
However, he did criticize President Eisenhower for not acting forcefully enough on civil rights. The trumpet is a notoriously hard instrument on the lips , and Armstrong suffered from lip damage over much of his life due to his aggressive style of playing and preference for narrow mouthpieces that would stay in place easier, but which tended to dig into the soft flesh of his inner lip.
During his s European tour, he suffered an ulceration so severe that he had to stop playing entirely for a year. Eventually he took to using salves and creams on his lips and also cutting off scar tissue with a razor blade. By the s, he was an official spokesman for Ansatz-Creme Lip Salve. During a backstage meeting with trombonist Marshall Brown in , Armstrong received the suggestion that he should go to a doctor and receive proper treatment for his lips instead of relying on home remedies, but he didn't get around to doing it until the final years of his life, by which point his health was failing and doctors considered surgery too risky.
The nicknames "Satchmo" and "Satch" are short for "Satchelmouth". The nickname has many possible origins. He scooped the coins off the street and stuck them into his mouth to prevent bigger children from stealing them. 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 was shortened to "Satchmo". Early on he was also known as "Dipper", short for "Dippermouth", a reference to the piece Dippermouth Blues. The nickname "Pops" came from Armstrong's own tendency to forget people's names and simply call them "Pops" instead.
The nickname was turned on Armstrong himself.
It was used as the title of a 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 at the time. Some musicians criticized Armstrong for playing in front of segregated audiences, and for not taking a strong enough stand in the American civil rights movement.
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 made national news. As a protest, Armstrong canceled a planned tour of the Soviet Union on behalf of the State Department saying: The FBI kept a file on Armstrong for his outspokenness about integration. When asked about his religion, Armstrong answered that he was raised a Baptist , always wore a Star of David , and was friends with the pope.
Armstrong was concerned with his health. He used laxatives to control his weight, a practice he advocated both to acquaintances and in the diet plans he published under the title Lose Weight the Satchmo Way. Armstrong was a heavy marijuana smoker for much of his life and spent nine days in jail in after being arrested for drug possession outside a club. He described marijuana as "a thousand times better than whiskey". The concern with his health and weight was balanced by his love of food, reflected in such songs as "Cheesecake", "Cornet Chop Suey",  though "Struttin' with Some Barbecue" was written about a fine-looking companion, not about food.
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.
Louis Armstrong was not, as is often claimed, a Freemason. Although he is usually listed as being a member of Montgomery Lodge No. However, Armstrong stated in his autobiography that he was a member of the Knights of Pythias , which although real is not a Masonic group. In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. Along with his "clarinet-like figurations and high notes in his cornet solos", he was also known for his "intense rhythmic 'swing', a complex conception involving Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic.
The solo that Armstrong plays during the song Potato Head Blues has long been considered his best solo of that series. Prior to Armstrong, most collective ensemble playing in jazz, along with its occasional solos, simply varied the melodies of the songs. Armstrong was virtually the first to create significant variations based on the chord harmonies of the songs instead of merely on the melodies.
This opened a rich field for creation and improvisation, and significantly changed the music into a soloist's art form. Often, Armstrong re-composed pop-tunes he played, simply with variations that made them more compelling to jazz listeners of the era. At the same time, however, his oeuvre includes many original melodies, creative leaps, and relaxed or driving rhythms.
Armstrong's playing technique, honed by constant practice, extended the range, tone and capabilities of the trumpet. In his records, Armstrong almost single-handedly created the role of the jazz soloist, taking what had been essentially a collective folk music and turning it into an art form with tremendous possibilities for individual expression.
Armstrong 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. 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 with the first recording on which he scatted, " Heebie Jeebies ". At a recording session for Okeh Records , when the sheet music supposedly fell on the floor and the music began before he could pick up the pages, Armstrong simply started singing nonsense syllables while Okeh president E. Fearn, who was at the session, kept telling him to continue.
Armstrong did, thinking the track would be discarded, but that was the version that was pressed to disc, sold, and became an unexpected hit. Although the story was thought to be apocryphal, Armstrong himself confirmed it in at least one interview as well as in his memoirs. 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. Armstrong was a gifted composer who wrote more than fifty songs, which in a number of cases have become jazz standards e. 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 , Jimmie Rodgers , Bessie Smith and perhaps most famously Ella Fitzgerald.
His influence upon Crosby is particularly important with regard to the subsequent development of popular music:
Related Monsieur Bing (Collection Monsieur Madame) (French Edition)
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