In New Orleans, the folk tradition and formal music came together for the first time. There, the Latin tradition had permitted the Creoles to participate in education and culture. They had developed a rich musical tradition, and many of them had received training in French conservatories. However, they preferred the sophisticated European music to the more earthy sounds of their blacker brothers. With the growth of Jim Crow legislation, the Creoles lost their special position in society, and they found themselves forcibly grouped with the blacks, whom they had previously shunned. Out of this fusion of technical musicianship and folk creativity emerged a new, vigorous music which became known as jazz. Jelly Roll Morton was one musician who had begun by studying classical guitar but preferred the music of the street. He became a famous jazz pianist and singer. Over the years, he played his way from night spots in New Orleans to those in St. Louis, Chicago, Los Angeles, and scores of smaller cities. The musical quality of jazz, instead of adopting the pure tones of classical music, was boisterous and rasping. Instruments were made to imitate the human voice, and they deliberately used a "dirty" sound. Both the trumpet playing and singing of Louis Armstrong illustrate this jazz sound particularly well. When Armstrong appeared in Chicago with King Oliver as the band's second trumpeter, he was immediately recognized as a jazz trumpet virtuoso, and his playing sent an electric shock through the jazz world. The most famous jazz musician and composer to appear in New York City during and after the Negro Renaissance was Duke Ellington. His well-known theme song "Take the A Train" made reference to the subway line which went to Harlem. By the time jazz had reached Harlem the Negro Renaissance was in full swing. This renaissance, unlike previous art produced by Negroes, consciously built on the Afro-American folk tradition. Langston Hughes, the most prolific writer of the renaissance, wrote a kind of manifesto for the movement. He said that he was proud to be a black artist. Further, he said that he was not writing to win the approval of white audiences. At the same time he claimed that he and the other young Negro artists were not attempting to gain the approval of black audiences. They were writing to express their inner souls, and they were not ashamed that those souls were black. If what they wrote pleased either whites or blacks, Hughes said, they were happy. It did not matter to them if it did not. In "Minstrel Man", Hughes expressed the inner emotions of the stereotyped, well-behaved Negro which white America thought it knew so well: Because my mouth Is wide with laughter And my throat Is deep with song, You did not think I suffer after I've held my pain So long. Because my mouth Is wide with laughter You do not hear My inner cry: Because my feet Are gay with dancing, You do not know I die.