this is from somebody who is a fiend of louis armstrong, i was playing louis armstrong this morning. armstrong, the master of modernism, emerges in this moment of a new world coming out of world war i. and it will mean something more to go through this exhibit, and then go to the top floor and see louis armstrong's trumpet and say, let's sit and have this conversation. i think museums really are the future of how we begin to narrate and think through critically who we are in the world. this is one of the most important places i can think of in the world to have that kind of conversation. kinshasa: thank you. we will go now to the next question. >> just a follow-up on what john mentioned, persian and black troops. i don't understand why, here is , a manjohn jay persian who served black troops at the spanish-american war, poncho villa, but yet, he was willing to transfer all the black combat troops to france, to the french. i would like to know if there is a back story to that. my next question is -- as i understand it, if i am not mistaken, they also were the units that the french use

--s is from somebody who is i was playing louis armstrong this morning. ut armstrong, the master of modernism, he emerges in this moment of a new world coming out of world war i. it means something more to go through this exhibit and go to the top floor and see louis armstrong trumpet. i think museums are the future of how we narrate and think through critically who we are in the world. this is one of the most places i can think of in the world for us to have that kind of conversation in education. >> we will go to the next questioner. >> a couple quick questions. a follow up on what john mentioned. black troops -- i don't understand -- here is the john j pershing, he was willing to transfer all of the black combat troops to the french. i would like to know if there is a back story to that. my second question, i understand those units they were transferred to, if i'm not mistaken, they were also the units the french moved -- french used to consolidate their colonial troops. my third question, then i will get out of here -- i surprised you did not mention h

louis armstrong i think was the 1st one was me. and you know i was busying. in didn't talk as often focusing on. the. oh what i want to. i don't want. thank you for being involved often actually commit sins and they also saw such a vet take such a gash to the song. of . our. hands. and nothing to. do full. bloom. and. our sacred. love to my son. who on the. phone. still. hand scoured. the book. our city from saving. there really is. and that was. her song was. now married. to flowers. water on her. much i. thank you thank you oh. happy basket no. thank you thank you i've got it galvanizes hard to talk of directly come up yet as i don't want my whole part of the actual music made concision into the against and that i had mentioned the song came up on the about to imagine happening since it's hardly on my hope to youngsters into the guns little chicks you know. it's into something you should just ask in my new song to get you see what i'm still it's what you imagine from those kids 100 of us. just couldn't if you didn't see. any precision to dance he was your q

louis armstrong think it was the 1st one was in. the us this boozing and diesel engine talk is often focus in parking lot. of. oh what i want to hold our aviation up i don't want to thank him very volatile flagellation al smith sings and they also does not such a bad take such as galveston that song. is of. our. band. and nothing. we're learning. who was. rod was. our secret. room but too much so. was the one. so. hands around. the of the book was our city room say. there really is. crown. and that was. done so much he was. now married oh in my past. world. i. heard room do. you feel anxious thank you oh. he doesn't know. thank you thank you i got a lot to talk of directly how much he doesn't like them and the whole part of the actual music concision entity against doc had mentioned the song demophon deal don't you imagine thinking since it's widely on modern hope to young kids he's into lagoons little shit you know. when i'm with. asked i'm on it. tell you what i'm still it can be 100 of us. this is. her decision to come here. i. t

i'd hear louis armstrong or ella fitzgerald and say, i want to feel that way. >> the act of singing,s something because people used to turn around when i'd sing. at school you're supposed to pretend to sing, but i was going, let's sing. because my family sang. i sang with my older brother in the tucson, arizona, boys choir. he was wonderful. >> he taught you? >> yeah, he did. and we learned harmonies. we just didn't have to be taught them. we just knew how to sing harmony. we'd sing in the back of the car. i think everybody should do their own singing. you don't have to be a professional or delegate our sorrows to professionals. >> you don't have to delegate your sorrows? >> some singing is for private you sing in your bedroom and some you play the piano to just a select group of friends. not everything is meant for the dig world. >> were you confident as a singer? did you know how good you were? >> i never thought i was good. >> you didn't? >> i always thought i might get a little better tomorrow but i also thought my phrasing was kind of hopeless. >> in the documentary, somebody sa

one or two other things i find fascinating the last place that louis armstrong played trumpet in public was here at the national press club. for about one year, he had been holding the horn and singing. he had a heart condition and wasn't up to the force that you need to play the trumpet. he was coming up here in january of 1970 want to see us and his doctor 1971 to see us. his doctor said let your own conscience be a guide. if you want to play, you are well enough. people came there expecting to see him and hear him saying, but not expecting him to play the trumpet. he was great. we found the audio and he said i have heard him play that run from hello dolly like hundreds of times, but i have never heard that improvisation. what it tells us about the human condition is at the end of life, the artist is still inventing. that music became the lead selling thing my kids would know these terms on apple, on itunes jazz and one of the other ones, digital ones, for like two weeks. this music was years old. but in a way, we hadn't heard before. that is one of the things that happen at press clu

other things that i find fascinating that inform our place, our country, so the last place that louis armstrong played trumpet in public was at the national press club. for about a year he had been holding the horn and singing. he had a heart condition and wasn't up to the force you needed to play the trumpet. he was coming up here in january of 1971 to see us. his doctor gave him a go-through right before he got on the train to come up, and he said, you know, let your own conscious be your guide. if you want to play, you're well enough to play. so people came there expecting to see him and to hear him sing, but not expecting to hear him play trumpet. and he was great, and we found the audio and we gave it to winston marsalis and he said i heard it play that run from "hello dolly" hundreds of times, but never heard that improvisation. so what it tells us about the human condition is that at the end of life, you know, the artist is still inventing. right? and that music became the lead-selling thing on -- my kids would know the terms -- on apple -- no, on itunes, jazz and on one of the other one