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Neil Foster Carries on Hating Keith Listens To
April 2017 April 96 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Chuck Berry, Capital Radio Jazzfest, Alexandra Palace, London, 21-07-79, © Paul Harris Neil Foster carries on hating Keith listens to John Broven The Frogman's Surprise Birthday Party We “borrow” more stuff from Nick Cobban Soul Kitchen, Jazz Junction, Blues Rambling And more.... 1 2 An unidentified man spotted by Bill Haynes stuffing a pie into his face outside Wilton’s Music Hall mumbles: “ HOLD THE THIRD PAGE! ” Hi Gang, Trust you are all well and as fluffy as little bunnies for our spring edition of Tales From The Woods Magazine. WOW, what a night!! I'm talking about Sunday 19th March at Soho's Spice Of Life venue. Charlie Gracie and the TFTW Band put on a show to remember, Yes, another triumph for us, just take a look at the photo of Charlie on stage at the Spice, you can see he was having a ball, enjoying the appreciation of the audience as much as they were enjoying him. You can read a review elsewhere within these pages, so I won’t labour the point here, except to offer gratitude to Charlie and the Tales From The Woods Band for making the evening so special, in no small part made possible by David the excellent sound engineer whom we request by name for our shows. As many of you have experienced at Rock’n’Roll shows, many a potentially brilliant set has been ruined by poor © Paul Harris sound, or literally having little idea how to sound up a vintage Rock’n’Roll gig. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
"Throw Me Something, Mister": the History of Carnival Throws in New Orleans
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-20-2011 "Throw Me Something, Mister": The History of Carnival Throws in New Orleans Lissa Capo University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Capo, Lissa, ""Throw Me Something, Mister": The History of Carnival Throws in New Orleans" (2011). University of New Orleans Theses and Dissertations. 1294. https://scholarworks.uno.edu/td/1294 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Throw Me Something, Mister”: The History of Carnival Throws in New Orleans A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History Public History by Lissa Capo B.A. Louisiana State University, 2006 May 2011 i Dedication This work is dedicated to my parents, William and Leslie Capo, who have supported me through the years. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Wavelength Midlo Center for New Orleans Studies
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1986 Wavelength (February 1986) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1986) 64 https://scholarworks.uno.edu/wavelength/56 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. UNIVERSI COS50 12/31199 BULK RATE EARL KLON6 LIBRARY tnL U. S. POSTAGE UNIV OF N.O. PAID ACQUISITIONS DEPT I N.O., LA 70148 ·VV39 Lt} COL. VIITDANS AT DAVID MON. -THUR. 1o-1 0 FRI. & SAT. 10-11 SUN. NOON-9 885-4200 Movies, Music & More! METAIRIE NEWORLEANS ¢1NEW LOCATIONJ VETmiANS ..,.~ sT. AT ocTAVIA formerly Leisure Landing 1 BL EAST OF CAUSEMY MON.-SAT. 1o-10 • MON.-SAT. 1o-10 SUN. NOON-8 SUN. NOON-9 88t-4028 834-8550 f) I ISSUE NO. 64 • FEBRUARY 1986 w/m not sure. but I'm almost positive. thai all music came from New Orleans.·· Ernie K-Doe. 1979 Features Flambeaux! ...................... 18 Slidell Blues . ......... ............ 20 James Booker . .................... 23 Departments February News . 4 Caribbean . 6 New Bands ....................... 8 U.S. Indies . ...................... 10 Rock ............................ 12 16-track Master Recorder: Movies .......................... 15 Reviews ........ ................ 17 Fostex B-16 February Listings ................. 25 Classifieds ....................... 29 Last Page . ....................... 30 COVER ART BY SKIP BOLEN Two #l hits in October. Member of NetWOfk Next? Puhlhhu. 'aun1an S S.ullt f..ditc•r . -
Mardi Gras Parades 2014
Mardi Gras Parades 2014 Date Parade Time Area 2/15/2014 Krewe of Jupiter 6:30 PM Baton Rouge 2/21/2014 Krewe of Artemis 7:00 PM Baton Rouge 2/22/2014 Krewe of Mystique 2:00 PM Baton Rouge 2/22/2014 Krewe of Orion 6:30 PM Baton Rouge 2/28/2014 Southdowns 7:00 PM Baton Rouge 3/1/2014 Spanish Town Noon Baton Rouge 2/16/2014 Krewe of Des Petite 1:00 PM Bayou Lafourche 2/22/2014 Le Krewe Des T- Cajun noon Bayou Lafourche 2/22/2014 Krewe of Ambrosia 5:30 PM Bayou Lafourche 2/23/2014 Krewe of Shaka 1:00 PM Bayou Lafourche 2/23/2014 Krewe of Versailles Noon Bayou Lafourche 2/28/2014 Krewe of Athena 7:00 PM Bayou Lafourche 3/1/2014 Krewe of Altantis noon Bayou Lafourche 3/1/2014 Krewe of Apollo Noon Bayou Lafourche 3/1/2014 Krewe of Babylon 6:00 PM Bayou Lafourche 3/1/2014 Le Krewe Du Bon Temps 5:50 PM Bayou Lafourche 3/2/2014 Krewe of Nereids 6:00 PM Bayou Lafourche 2/22/2014 Knights of Nemesis 1:00 PM Chalmette 2/22/2014 Krewe of Olympia 6:00 PM Covington 2/28/2014 Krewe of Lyra 7:00 PM Covington 2/15/2014 Krewe du Vieux 6:30 PM French Quarter 2/15/2014 Krewe Delusion du Vieux French Quarter 2/21/2014 Krewe of Cork 3:00 PM French Quarter 2/23/2014 Krewe of Barkus 2:00 PM French Quarter 2/22/2014 Krewe of Tee Caillou 12:00 PM Houma/Terrebonne 2/22/2014 Krewe of Aquarius 6:30 PM Houma/Terrebonne 2/23/2014 Krewe of Hyacinthians 12:30 PM Houma/Terrebonne 2/23/2014 Krewe of Titans Hyacin Houma/Terrebonne 2/28/2014 Krewe of Aphrodite 6:30 PM Houma/Terrebonne 3/1/2014 Krewe of Mardi Gras 6:30 PM Houma/Terrebonne 3/2/2014 Krewe of Terreanians 12:30 -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Second Line: A (Re)Conceptualization of the New Orleans Brass Band Tradition Permalink https://escholarship.org/uc/item/09z2z2d7 Author GASPARD BOLIN, MARC TIMOTHY Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Second Line: A (Re)Conceptualization of the New Orleans Brass Band Tradition A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Marc Timothy Gaspard Bolin 2021 i © Copyright by Marc Timothy Gaspard Bolin 2021 i ABSTRACT OF THE DISSERTATION The Second Line: A (Re)Conceptualization of the New Orleans Brass Band Tradition by Marc Timothy Gaspard Bolin Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2021 Professor Cheryl L. Keyes, Chair In New Orleans, Louisiana, nearly every occasion is marked with a celebratory parade, most famously the Mardi Gras processions that seemingly take over the city during Carnival Time. But throughout the year, there are jazz funerals and parades known as "second lines" that fill the Backatown neighborhoods of New Orleans, with the jubilant sounds of brass band music. These peripatetic parades and their accompanying brass bands have become symbolic of New Orleans and its association with social norm-breaking and hedonistic behavior. The second line constitutes cultural practice and group identification for practitioners serving as a site for spiritual practice and renewal. In Los Angeles, California, practitioners are transposing the second line, out of which comes new modes of expression, identities, meanings, and theology. -
Kruisin' Da Krewes
Alternative Mardi Gras Kruisin’ da Krewes Vol. II, issue 2 1 Dave Malone from The Radiators Photo / Pat Jolly Where is Beat Street? There is a place in New Orleans, a figurative address that is home to all that is real. New Orleans Beat Street is the home of jazz. It is also the residence of funk and the blues; R&B and rock ‘n’ roll live here, too. When zydeco and Cajun music come to town, Beat Street is their local address. Beat Street has intersections all over town: from Uptown to Treme, from the Ninth Ward to the French Quarter, from Bywater to the Irish Channel, weaving its way through Mid-City and all points Back o’ Town. Beat Street is the Main Street in our musical village. It is where we gather to dine and to groove to live music in settings both upscale and downhome. Beat Street is where we meet to celebrate life in New Orleans with second line parades, festivals and concerts in the park. Beat Street is lined with music clubs, restaurants, art galleries, recording studios, clothing shops, coffee emporiums and so much more. New Orleans Beat Street is a mythical street in New Orleans surrounded by water and flooded with music. 2 NEW ORLEANS BEAT STREET MAGAZINE Vol. II, issue 2 3 Photo Michael P. Smith In This Issue... Beat Street takes a look at Carnival from an alternative perspective. Broderick Webb explores the East-West connections. David Kunian investigates the origins of some of the most fascinating “underground” krewes. Spike Perkins gets up close and personal with the Krewe Du Vieux. -
MF DOOM LUNCH BOX SHEET 1-2 Sm
2xCD LTD. EDITION BOX SET THROWBACK TIN LUNCH BOX REMASTERED, EXPANDED, 2xCD SET INCLUDES ORIGINAL ALBUM CUTS ALTERNATE VERSIONS, B-SIDES & INSTRUMENTALS 32-PAGE FULL COLOR LYRIC BOOK & DOOMSDAY MC’S CARD SET DESIGNED EXCLUSIVELY BY JASON JAGEL CLICK HERE TO WATCH PRODUCT PROMOTION! http://www.youtube.com/user/getondowntv APRIL 19TH 2xCD LTD. EDITION BOX SET THROWBACK TIN LUNCH BOX Ask any true hip-hop fan and he can tell you exactly where and when he first heard DOOM’s Operation: Doomsday. Against seeming insurmountable odds, the album - bootlegged mercilessly, floating in and out of print on various labels since it’s release in 1999 - gained mythical status amongst music aficionados of all backgrounds as one of the landmark releases of the past decade. At its core? One man, a microphone, an MPC 2000 and a Roland VS 1680. By the time of Operation: Doomsday’s recording, DOOM was a DISC ONE DISC TWO transformed man: a veteran of hip hop’s aging “new ORIGINAL ALBUM FULL-LENGTH ALTERNATE VERSIONS, B-SIDES school” reinvented as the masked, abstract wordsmith TRACK LISTING AND INSTRUMENTALS 1 The Time We Faced Doom (Skit) 1 Dead Bent (Original 12" Version) of the NOW. His pointed wit, subtly subversive lyrics 2 Doomsday 2 Gas Drawls (Original 12" Version) 3 Rhymes Like Dimes (Featuring Cucumber 3 Hey! (Original 12" Version) 4 Greenbacks (Original 12" Version) and stream-of-consciousness flow over adventurous Slice) 5 Go With The Flow Feat. Sci.Fly (Original 12" 4 The Finest (Featuring Tommy Gunn) sample-based production created the measuring Version) 5 Back In The Days (Skit) 6 Go With The Flow (Raw Rhymes) stick by which rappers in the coming decade would 6 Go With The Flow 7 I Hear Voices Pt. -
30Th Birmingham International Jazz & Blues Festival July
Photo by Merlin Daleman WWW.BIRMINGHAMJAZZFESTIVAL.COM [email protected] HOTLINE: 0121 454 7020 WWW.BIRMINGHAMJAZZFESTIVALTV.COM TWITTER: @birmjazzfest #brumjazzfest FacebooK.com/birminghamjazzfestival/ www.birminghamjazzfestival.com COUNCILLOR IAN WARD "It is with great pleasure that Birmingham is welcoming the Birmingham International Jazz and Blues Festival for a landmark 30th consecutive year. To mark this occasion the festival is again hosting big names from across the world with 175 performances at over 80 venues across the City. It is particularly impressive to see the festival increasingly attracting musicians from across Europe with France, Hungary, Czech Republic, Italy, Lithuania, Luxembourg, Slovakia and Spain all represented. The festival is an important event in Birmingham’s event calendar and is an opportunity for everyone to see live music and events at different venues making the festival accessible to all. I always enjoy the event and I am looking forward to it again this year. The breadth of Jazz and Blues on offer make this year’s event a must go festival for residents and visitors alike. Let’s hope the Jazz and Blues Festival brings the summer to Birmingham." Ian Ward Deputy Leader of Birmingham City Council Funded by 2 30TH BIRMINGHAM INTERNATIONAL JAZZ & BLUES FESTIVAL 2014 30TH BIRMINGHAM INTERNATIONAL JAZZ & BLUES FESTIVAL 2014 3 ACKNOWLEDGMENTS www.birminghamjazzfestival.com ACKNOWLEDGMENTS Festival Patron: Digby Fairweather Advisory Board: John Hemming MP, Derek Inman, John James, Danny Longstaff, Cllr. Phillip Parkin, John Patrick, THE JAZZ FESTIVAL BOARD Cllr. Rob Sealey Behind this short, sharp celebration of jazz, blues and related music lies many months Festival Director: Jim Simpson Find us on Commercial and Development Director: Tim Jennings facebook.com/birminghamjazzfestival/ of planning and organisation. -
From the Funk-Laced Beats and Bass-Heavy Sousaphone Blasts That
From the funk-laced beats and bass-heavy sousaphone blasts that kick off their album “Spyboy” to the gritty warmth of singer J’Wan Boudreaux’s voice, New Orleans brass band-meets-Mardi Gras Indian outfit Cha Wa radiates the fiery energy of the best features of the city’s street culture. “Spyboy” was produced by Galactic’s Ben Ellman and features special guests Big Chief Monk Boudreaux (The Wild Magnolias, HBO’s Treme), Nigel Hall (Lettuce, Nth Power), and Danica Hart. Cha Wa’s debut, “Funk N Feathers,” explored contemporary riffs on the traditional music Boudreaux grew up singing alongside his grandfather, Big Chief Monk Boudreaux, in the Golden Eagles Mardi Gras Indian tribe. Now “Spyboy” ups the ante by digging deeper into the sound of New Orleans culture and giving it a modern twist. The disc’s largely original material takes advantage of the band’s new horn section to highlight the musicians’ personal ties to the street music of their hometown. “We wanted to take the roots of what we love about New Orleans brass band music and Mardi Gras Indian music and then voice it in our own way,” says the group’s drummer and founder, Joe Gelini. Dating back to the late 1800s, the Mardi Gras Indian tradition began when African-American men first marched in Native American dress through the streets of New Orleans on Mardi Gras day. The tradition, which includes a host of songs shared among the various tribes, has been kept alive for over a century and today is as vital as ever. -
21S NOLA Syllabus Part I Graphicsa
HISTORY OF NEW ORLEANS MUSIC 2021S History of New Orleans Music 21S- MUGN-O246-W01 Spring 2021 16-Week Session 1/19/2021 - 5/7/2021 Instructor Information Name: Sanford Hinderlie Phone: (504) 865 2773 (Not to be used with Online course) Email: [email protected] (Preferred contact method. I usually reply to emails within 1-12 hours.) Office Location: World Wide Web Office Hours: By email appointment Terms of Use A student's continued enrollment in this course signifies acknowledgment of agreement with the statements, disclaimers, policies, and procedures outlined within this syllabus and elsewhere in the Canvas environment. This Syllabus is a dynamic document. Elements of the course structure (e.g., dates and topics covered, but not policies) may be changed at the discretion of the professor. Sanford Hinderlie, jazz piano Course Information Prerequisite Courses: ENGL T122 or Equivalent Course Location: Online in Canvas (NOTE: This is an asynchronous online course. However, it is NOT self-paced. Readings as well as all learning activities must be completed according to the weekly schedule provided in this syllabus.) Credit Hours: 3 Credit hours Weeks and Dates of the Course: 16 weeks (full semester), from Wednesday, Jan. 20, 2021 to Friday, May 5, 2021 Class Meeting Time: Each week begins on Monday at 12:00 am and ends on Sunday at 11:59 pm in Canvas Expectations of Workload: e.g. According to the Loyola University Credit Hour Policy http://academicaffairs.loyno.edu/credit-hour-policy, you are supposed to spend at least 6300 minutes (that is 105 hours including 35 hours of classwork and 70 hours of out-of-class work) for the whole semester regardless of how many weeks it is offered.