# Satchmo in his adolescence: 1915 film clip may show young Louis Armstrong: Photos, Video

- Link: https://jazzblues.eu/2019/06/22/satchmo-in-his-adolescence-1915-film-clip-may-show-young-louis-armstrong-photos-video/
- Published: 2019-06-22T21:49:02+01:00
- Author: https://JazzBlues.EU

**Louis Armstrong has served as the focus of many works of literature. Now, a few
seconds of old film that appear to feature Armstrong as a teenage boy have captivated
jazz journalist James Karst. **

If Karst’s theory is correct, the clip from 1915 shows Armstrong at a turning point
in his early life — years before he became famous and eventually legendary around
the world.

Karst tells NPR’s Scott Simon that he stumbled upon the alleged clip of Armstrong
on the Getty Images website. For the first beat of the eight-second clip, apparently
taken from a newsreel, pedestrians cross a busy New Orleans street in 1915. Then,
the boy who Karst suspects to be a 13 or 14-year-old Armstrong enters the shot.

“A couple of seconds into this film clip, a newsboy walks into the scene,” Karst
describes. “His back is facing the camera at first. And then he turns around, and
you can see that he’s holding a newspaper — what I believe to be the _New Orleans
Item_, an afternoon paper. And he briefly engages the camera, smiles and then he
turns around and keeps going.”

When Karst saw the clip, its possible significance occurred to him instantly. “I
saw it and immediately recognized that Louis Armstrong, when he was a young man 
in this very year, was a newsboy in New Orleans, and was one of, apparently, relatively
few black newsboys in New Orleans in this location,” he says. Karst immediately 
set out to determine whether or not this newsboy was in fact Armstrong.

From there, Karst got to work piecing together bits of evidence to support his hunch.
He reached out to Dr. Kurt Luther, a professor at Virginia Tech University known
for his work identifying people in Civil War-era photographs, for advice, and compared
the facial features of the boy in the video to those seen in the earliest known 
images of Armstrong. Karst also accessed census records to verify the small number
of black newsboys on the New Orleans records at the time the film was taken.

At the time, Karst says, Armstrong would have recently been released from a boys’
reformatory where he had been sent for shooting a pistol into the air — this reformatory
is also where Armstrong played in the marching band and received his first formal
music instruction. As Karst says, after coming out of the reformatory in June of
1914, Armstrong found work as a newsboy to help support his family, who lived in
poverty.

Karst says he’s been surprised to find that others largely accept his suggestion,
which was published in a magazine of the Louisiana Endowment for the Humanities.“
I fully expected people to try to pick it apart.”

According to Karst, there is one evident clue on the boy’s face in the clip: “The
beautiful Louis Armstrong smile that later became famous.”

he year 1915 marked a time of transition and upheaval in the life of Louis Armstrong.
The New Orleans native was in his early teens, an awkward period in the life of 
many people. But Armstrong’s entry into adolescence was complicated by a variety
of other factors specific to his situation. First and foremost was that he needed
a job.

The musical prodigy had recently left the reformatory known as the Colored Waif’s
Home, where he had been sent in early 1913 after being arrested for shooting a revolver
into the air on New Year’s Eve. It was at the home that he supposedly received his
first formal music instruction, playing cornet with the band whose local performances
included marching in parades, accompanying a local theater production, and entertaining
crowds at a Christmas gift giveaway for poor black children. (Even philanthropic
ventures in New Orleans were segregated.)

After being released from the Waif’s Home in June 1914, Armstrong, who grew up in
extreme poverty, needed to support himself and his family. He cycled through a number
of menial jobs as he began to scrape together some paying gigs as a musician. Several
times during this period he went back to a familiar occupation as a newsboy, even
though he knew it was a dead-end career.

“At this time Louis tried earnestly but vainly to earn a living in a steady job,”
writes Robert Goffin in _Louis Armstrong, Le Roi du Jazz_, translated into English
by James F. Bezou and published under the title _Horn of Plenty_ in 1947. (Goffin’s
book is sometimes criticized by jazz historians for the Belgian author’s embellishments,
but the narrative is believed to have been largely based on notes Armstrong provided
to Goffin.)

“He went back to Charlie’s and sold newspapers; but his earnings were very small,
and, after all, he could not sell papers for the rest of his life!” Goffin continues.“
He tried his hand as odd man in a dairy, doing all the heavy chores; but after a
month of this he returned to Charlie’s newsstand.”

This newsstand, Goffin writes in another section, was based at Canal Street and 
St. Charles Avenue. Thomas Brothers, a professor at Duke University who wrote the
book _Louis Armstrong’s New Orleans_, confirms the location where Armstrong would
pick up newspapers to sell in downtown New Orleans.

[[

A roughly contemporary shot of Canal Street shows the cars and horse-drawn carriages
that shared the streets of New Orleans in the 1910s. Detail. The Historic New Orleans
Collection

As it is today, this was a busy part of the city in 1915, and the site of heavy 
foot traffic.

An eight-second silent film clip shot in that year and posted on the Getty Images
website captures a sea of humanity a stone’s throw away, on the other side of the
Canal Street neutral ground; the camera is facing down Canal toward the river, probably
at Dauphine Street, near the flagship D. H. Holmes store.

White women and men, all of them in hats, stride past one another. Several men in
suits stand at the corner, perhaps waiting for someone. A young boy looks toward
the street as he holds a woman’s hand. Automobiles and a streetcar are visible in
the background.

Just over three seconds into the footage, an adolescent black boy walks into the
scene. He is wearing a newsboy cap. The sleeves of his white shirt are rolled up
to the elbows.

The boy turns around. He’s selling a newspaper, what appears to be the _New Orleans
Item_.

The boy seems to acknowledge the camera, perhaps the only person in the clip who
does so overtly. For a brief moment he flashes a brilliant smile, showing ease as
a young black man among white pedestrians during a particularly oppressive period
of the Jim Crow era. And then he turns away to continue selling his paper.

That newsboy, according to two prominent jazz historians, appears to be Armstrong
himself, at thirteen or fourteen years of age. If it is him, it would be the oldest
video footage of the future recording star by well over a decade, and it would depict
him at a critical crossroads in his life, after he had left the stability of the
Colored Waif’s Home and before he became a full-time working musician. It would 
also presumably depict him around the time his voice changed from a tenor to his
famous baritone, presumably calling out the headlines as he hawked the paper.

The timing is right. The age and complexion of the newsboy are right. The location
is right. And the newsboy, by some accounts, has something intangible in his brief
interaction with the camera, a striking charisma.

Confirming with certainty that the newsboy is Armstrong is not an easy thing to 
do more than a century later, of course. There are no known records on the brief
film. Even if people involved in the production of it could be identified today,
the chances that they are still alive would be very slim. No one who knew Armstrong
when he was a child is known to still be alive. Armstrong himself has been dead 
for nearly a half-century.

But there are people who knew Armstrong later in his life. Among them is Dan Morgenstern,
the former editor of _DownBeat_ magazine and former director of the Institute of
Jazz Studies at Rutgers University. Morgenstern, who was friends with Armstrong 
from 1950 until the jazz icon’s death in 1971, believes the newsboy in the film 
clip is the artist as a young man. “There is a special aura Louis had, and it’s 
there to me, for whatever that’s worth,” Morgenstern said in an email after viewing
the clip.

A comparison of a screen grab from the 1915 film clip with a photograph of Armstrong
from around 1920 shows that the distance from eyes to nose and nose to mouth is 
the same, as well as the width of the nose. It matches up perfectly. Such an exercise
can be helpful in identifying a person, said Kurt Luther, a professor of computer
science at Virginia Tech University who is leading a project called Civil War Photo
Sleuth that attempts to identify people in Civil War–era photographs. But it’s not
necessarily conclusive.

“If the facial features match up, it’s only a start,” Luther said in an email. “
We need to consider the surrounding context (environment, clothing, etc.), what 
we know about the photos, the dates and locations, how distinctive the face is.”
Ultimately, Luther said, “you would want to seek out the consensus of jazz historians.”

Morgenstern thinks it is Armstrong in the film clip, as does Ricky Riccardi, archivist
at the Louis Armstrong House Museum in New York and author of _What a Wonderful 
World: The Magic of Louis Armstrong’s Later Years_. Others are less certain. But
there is a broad consensus among a group of Armstrong experts that, based on the
circumstances and timing, it _could _be him.

[[

Tin Lizzies in formation line the streetcar tracks on Canal Street ca. 1923. The
Historic New Orleans Collection

“I think it’s entirely possible that the boy carrying the newspaper is Armstrong,”
wrote Terry Teachout, author of _Pops: A Life of Louis Armstrong_, in an email. “
He certainly bears a very strong facial resemblance to the child seen in the familiar
photo of Armstrong and the Waif’s Home band. I wouldn’t want to go any farther than
that—it’s far too easy to be swayed by wishful thinking—but I can’t see any reason
to rule it out.”

Michael White, a jazz historian and professor at Xavier University of Louisiana,
said in an email that he is “cautious to say that this is Armstrong.”

“At times it looks like him, but at times it doesn’t,” he wrote.

Riccardi, of the Louis Armstrong House Museum, described the film clip as “an unthinkable
find” and said that the comparison of the screen grab to a known early photograph
of Armstrong “was what did it for me.”

“I never could have dreamed that footage would turn up of young Louis Armstrong 
hawking newspapers, just before turning towards music as his full-time occupation
and soon after that changing the sound of American music. We might never know for
sure if the kid in the video is really him, but when he turns to the camera—fully
aware of its placement—and flashes that smile, the film lights up in a way that 
sure reminds me of Armstrong.”

It is indeed difficult to fathom that a teenager who would become the king of jazz
would randomly walk into a street scene in a silent film clip recorded before the
word “jazz” was even in the American lexicon. New Orleans was a city of more than
three hundred thousand people in 1915. What are the chances?

Armstrong was not listed as a newsboy in either census; he was only nine years old
in 1910, and by 1920 he was already a professional musician. But the census figures
suggest that there were few black newsboys in 1915. Armstrong was one of them.

The New Orleans census for 1910 listed forty-eight residents of the city who identified
their occupation as newsboy, according to John Kelly, a reference librarian at Southeastern
Louisiana University. Of those, four were identified as black and one as mulatto.
The 1920 New Orleans census identified forty-four people who listed newsboy as their
occupation. Five were identified as black and four as mulatto.

But there are some discrepancies in the numbers. The official 1910 federal census
counted 233 newsboys of all races in New Orleans, and the 1920 report counted 107(
and one newsgirl). Kelly said the differences result from the fact that the census
definition of “newsboys” included others involved in newspaper delivery, such as
those who identified themselves as “carriers” or “agents.” Newsboys typically walked
around and sold single copies of papers to pedestrians, as the boy in the silent
film clip appears to be doing.

Armstrong was not listed as a newsboy in either census; he was only nine years old
in 1910, and by 1920 he was already a professional musician. But the census figures
suggest that there were few black newsboys in 1915. Armstrong was one of them.

The source of the film clip, Getty Images, has little information about it, other
than that it was shot in New Orleans in 1915. It is labeled on the website as “B/
W people walking on crowded sidewalk / New Orleans / 1915 / NO SOUND.” According
to a Getty customer service representative, the video has been on the company’s 
website since 2007. The presence of the newsboy who strongly resembles Armstrong
appears to have been first noted by this writer during a search for other silent
film footage of Armstrong that may exist.

A banner headline, “Bandits Wreck N.O. Train,” appears below the newspaper’s name
and above a photograph on the front page, but pinpointing the date has proven difficult.
The afternoon _Item_ was the only major paper in New Orleans to use this design 
regularly at the time. The _States_, another afternoon daily that later merged with
the _Item_, typically ran headlines above the nameplate. The morning _Times-Picayune_
did not run headlines across the entire width of the front page in this era. The
French-language _l’Abeille_ did not typically run photos on its front page.

[[

Standing water on Canal Street after the 1915 storm. The Historic New Orleans Collection

There were numerous bandit/train wreck incidents in 1915, but a search of several
digitized and traditional microfilm newspaper archives does not turn up any edition
of the _Item _with that headline. There are several possible explanations for this.
One is that the paper printed more than one edition most days. The paper being sold
by the newsboy may be an early edition; final editions, which contained different
content, were most often preserved on microfilm. Another possible explanation is
that there are gaps in the issues of the _Item_ from 1915 that are preserved in 
archives. A period of about a week and a half from January and February of 1915 
is missing, for instance, from the digitized and microfilm collections of the New
Orleans City Archives and the microfilm available from the Historic New Orleans 
Collection. The Louisiana State Museum has in its collection bound editions of the
_Item_, but the entire year of 1915 is missing. It is possible that the “Bandits
Wreck N.O. Train” headline appeared on one of the missing days.

There is no evidence of storm damage in the video footage, nor in several other 
New Orleans silent film clips listed as being in the same series as the one in which
the newsboy engages with the camera. A powerful hurricane came ashore September 
29, 1915, near Grand Isle, killing more than two hundred people and leaving millions
of dollars in damage in its wake. The local papers covered the storm and its aftermath
for weeks, often on the front page. It is reasonable, therefore, to consider it 
likely that the film footage was shot prior to that catastrophe.

Armstrong’s period of occupational uncertainty after serving his sentence at the
Waif’s Home is described in a 1931 story published in the _Item_. “When he was discharged
as a reputable youngster a year and a half later,” the _Item_ reports in the story
published during what was believed to have been Armstrong’s first trip back to his
hometown after he became a recording star, “it never occurred to him to stick to
music. Instead, seeking to support himself, he became a newsboy, selling _Items_
in a lusty voice at the corner of Poydras and Baronne streets,” six blocks away 
from the scene shown in the 1915 silent film clip.

It is indeed difficult to fathom that a teenager who would become the king of jazz
would randomly walk into a street scene in a silent film clip recorded before the
word “jazz” was even in the American lexicon.

And his hustle as a newsboy overlapped with his early performances as a professional
musician, Armstrong writes in his 1952 autobiography, _Satchmo: My Life in New Orleans_.
He says that when his cousin’s son Clarence (whom he later adopted) was born in 
August of 1915, he was doing a little bit of both jobs as he tried to eke out a 
living.

“My whole family had always been poor, and when Clarence was born I was the only
one making a pretty decent salary,” Armstrong writes. “That was no fortune, but 
I was doing lots better than the rest of us. I was selling papers and playing a 
little music on the side.”

Armstrong gigged in the honky-tonks of his neighborhood, and he played parades and
funerals as he polished his chops and built his reputation. By the time he registered
for the World War I draft on September 12, 1918, shortly after he turned seventeen
years old (Armstrong is believed to have given the wrong birthdate when registering
for the draft, making it appear as though he was eighteen), he no longer considered
himself a newsboy or a laborer. “Musician” was written under “present occupation.”

**James Karst** is a jazz history researcher and writer best known for discovering
that Louis Armstrong had been arrested at the age of nine on a “dangerous and suspicious”
charge in downtown New Orleans.

![March 1950: Louis Armstrong plays trumpet in his dressing room before a show in
New York.](https://i0.wp.com/mediad.publicbroadcasting.net/p/shared/npr/styles/placed_wide/
nprshared/201906/732687806.jpg?w=640&ssl=1)

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