Domino moved to the New Orleans suburb of Harvey after the storm but would often visit his publishing house, an extension of his old home in the Lower 9th Ward, inspiring many with his determination to stay in the city he loved.
“Fats embodies everything good about New Orleans,” his friend David Lind said in a 2008 interview. “He’s warm, fun-loving, spiritual, creative and humble. You don’t get more New Orleans than that.”
The son of a violin player, Antoine Domino Jr. was born on Feb. 26, 1928, to a family that grew to include nine children. As a youth, he taught himself popular piano styles — ragtime, blues and boogie-woogie — after his cousin left an old upright in the house. Fats Waller and Albert Ammons were early influences.
He quit school at age 14, and worked days in a factory while playing and singing in local juke joints at night. In 1949, Domino was playing at the Hideaway Club for $3 a week when he was signed by Imperial record company.
He recorded his first song, “The Fat Man,” in the back of a tiny French Quarter recording studio.
“They call me the Fat Man, because I weigh 200 pounds,” he sang. “All the girls, they love me, ’cause I know my way around.”
In 1955, he broke into the white pop charts with “Ain’t It a Shame” — but actually sang the lyrics as “ain’t that a shame.” The song was covered blandly by Pat Boone as “Ain’t That a Shame” and rocked out years later by Cheap Trick. Domino enjoyed a parade of successes through the early 1960s, including “Be My Guest” and “I’m Ready.” Another hit, “I’m Walkin,'” became the debut single for Ricky Nelson.
Domino appeared in the rock ‘n’ roll film The Girl Can’t Help It and was among the first black performers to be featured in popular music shows, starring with Buddy Holly and the Everly Brothers. He also helped bridge rock ‘n’ roll and other styles – even country/western, recording Hank Williams’ “Jambalaya” and Bobby Charles’ “Walkin’ to New Orleans.”
Like many of his peers, Domino’s popularity tapered off in the 1960s as British and psychedelic rock held sway.
Domino told Ebony magazine that he stopped recording because companies wanted him to update his style.
“I refused to change,” he said. “I had to stick to my own style that I’ve always used or it just wouldn’t be me.”
Antoine and Rosemary Domino raised eight children in the same ramshackle neighborhood where he grew up, but they did it in style — in a white mansion, trimmed in pink, yellow and lavender. The front double doors opened into an atrium with chandeliers hanging from the ceiling and ivory dominos set in a white marble floor.
In 1988, all of New Orleans seemed to be talking about him after he reportedly paid in cash for two Cadillacs and a $130,000 Rolls-Royce. When the salesman asked if he wanted to call his bank about financing, Domino smiled and said, “I am the bank.”
In 1998, he became the first purely rock ‘n’ roll musician to be awarded the National Medal for the Arts. But he cited his age and didn’t make the trip to the White House to get the medal from President Clinton.
That was typical. Aside from rare appearances in New Orleans, he dodged the spotlight in his later years, refusing to appear in public or even to give interviews.