Word: mah
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Louis listened to all of the Negro jazz pioneers: men like Clarinetists Alphonse Picou and Sidney Bechet, Trombonist Kid Ory, Pianist Jelly Roll Morton and Cornetist Bunk Johnson. But Cornetist Joe ("King") Oliver was his favorite: "Soon as I heard him I said 'there's mah man!'" At first, Louis just listened. He ran errands, hawked bananas, ground up old brick and sold it to prostitutes for scouring their front steps on Saturday mornings. When he was eleven, he also started a street quartet in which he sang tenor, picked up loose change by serenading through...
...spring him), he was too busy driving a coal wagon to blow a note. Then one night Bunk Johnson didn't turn up, and Louis sat in for him (for $1.25 a night) at Matranga's joint on Perdido Street; even the great Joe ("there's mah man") Oliver came around to listen...
...practical advice. But there is also a great deal of pedantic nonsense whose prissiness would drive a climbing Milquetoast to despair, as he struggled always to say "telephone" (instead of "phone") and "whiskey and soda" (instead of "highball"). "TOMATO," says Author Fenwick firmly, "is better pronounced 'to-mah-to,' as ... it comes from the Spanish Toma-te,' which is pronounced 'tomahtay.'' This is a much hotter potato* than Author Fenwick seems to realize...
...much as I enjoyed your reference to my favorite comic, Li'l Abner, your shallow interpretation of Old Man Mose's warning distressed me. [The warning: "Shmoos, mah boy, is th' greatest menace to hoomanity th' world has ever known...
...that th' shmoon don't come over th' mount'in.") Nevertheless, Li'l Abner penetrated into the forbidden Valley of the Shmoon, where a sage clad only in his own beard, called Old Man Mose, frantically explained the shmoo situation to the intruder. "Shmoos, mah boy, is the greatest menace to hoo-manity th' world has ever known...