2021 Satchmo Summerfest – Final Fest Details Revealed
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Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
The State of Public Education in New Orleans
The State of Public Education in New Orleans 20 18 Kate Babineau Dave Hand Vincent Rossmeier The mission of the Cowen Institute Amanda Hill is to advance Executive Director, Cowen Institute public education At the Cowen Institute, we envision a city where all children have access to a world-class education and where all youth are on inspiring pathways to college and careers. We opened our doors in 2007 to chronicle and analyze the transformation of the K-12 education system in New Orleans. and youth success Through our annual State of Public Education in New Orleans (SPENO) report, public perception polls, and issue briefs, we aim to share our analysis in relevant and accessible ways. in New Orleans We are at a pivotal moment in New Orleans’ history as schools return to the Orleans Parish School Board’s oversight. This report distills the complexities of governance, enrollment, accountability, school performance, student and educator demographics, and transportation. Additionally, this and beyond. report looks ahead at what is on the horizon for our city’s schools. We hope you find this information useful. As we look forward, we are more committed than ever to ensuring that all students have access to high-quality public education and meaningful post-secondary opportunities. We wish to To further that mission, the Cowen Institute focuses on K-12 education, college and career acknowledge the incredible work and determination of educators, school leaders, parents, non- success, and reconnecting opportunity youth to school and work. profit partners, civic leaders, and, most of all, young people in our city. -
Online Scavenger Hunt for Youth and Families
Online Scavenger Hunt for Youth and Families You can find many amazing objects in the Louisiana State Museum’s collection by visiting the Louisiana Digital Library! This scavenger hunt will help you use this unique online resource and learn more about Louisiana’s history, art, and culture. Visit https://louisianadigitallibrary.org/lsm. You will find collection titles that match the bold words on this worksheet. Find the objects under each collection title. There are different ways to play: • Find as many objects as you can in one hour. Award yourself one point for every object you find. • Time how long it takes you to find all the objects. • Stretch it out! Find one or two objects each day. Recommended for families with The hunt has 20 objects total. Good luck!* children 12 years old or younger. ART Louisiana State Museum Newcomb College Arts and Crafts 1. Printmaking was one of the arts taught at Newcomb College. This collection contains prints of several bookplates, which are labels pasted into books showing the owner’s name. Find the bookplates and choose your favorite! Write its title and describe it. __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ Paintings from the Louisiana State Museum 2. Folk painter Clementine Hunter was famous for her paintings of plantation life near Natchitoches, Louisiana. Find one of her colorful paintings. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Japan Loves New Orleans's Music
University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2017 Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 William Archambeault University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Oral History Commons, and the United States History Commons Recommended Citation Archambeault, William, "Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017" (2017). Senior Honors Theses. 94. https://scholarworks.uno.edu/honors_theses/94 This Honors Thesis-Unrestricted 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 Honors Thesis-Unrestricted 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 Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 An Honors Thesis Presented to the Department of Interdisciplinary Studies of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Interdisciplinary Studies, with University High Honors and Honors in Interdisciplinary Studies by William Archambeault May 2017 Archambeault i Acknowledgments This undergraduate Honors thesis is dedicated to Travis “Trumpet Black” Hill, a New Orleans trumpeter who died in Tokyo, Japan, on May 4, 2015, while touring Japan. -
New Orleans Jazz Museum a Gift to the World T H E L Ouisiana M Useum F O U N Datio N C a M P a I G N F O R the New O R Leans J Azz M Useum
THE LOUISIANA MUSEUM FOUNDATION CAMPAIGN FOR THE NEW ORLEANS JAZZ MUSEUM A GIFT TO THE WORLD T H E L OUISIANA M USEUM F O U N DATIO N C A M P A I G N F O R THE NEW O R LEANS J AZZ M USEUM The Campaign The New Orleans Jazz Museum showcasing Louisiana’s rich history and culture. The Museum Foundation and LSM operates nine museums across the state, with Louisiana State Museum have The Louisiana Museum Foundation (LMF), in support To be housed within the historic Old U.S. Mint five located in New Orleans’ historic French Quarter: joined forces to embrace this ambitious of the Louisiana State Museum (LSM), is engaged in (1838)—strategically located at the intersection the Cabildo, the $2 million capital campaign to build the world’s a $2 million capital campaign to create a world- of the city’s French Quarter (Vieux Carré) and Presbytère, the 1850 newest and best jazz museum. Having raised class New Orleans Jazz Museum. While nearly half Frenchmen Street live music corridor—the New House, Madame nearly half of the required funds, we are now ready of the campaign’s $2 million goal has already Orleans Jazz Museum will place on permanent John’s Legacy, and to move into the public phase of the campaign. been acquired or pledged, your help is needed display the world-renowned New Orleans the Old U.S. Mint. Several unique, high-visibility naming opportunities to complete the funding for this historic project! Jazz Club Collections of the Louisiana Since 1978, the LSM exist for signature supporters, including an overall State Museum. -
2019 Satchmo Summerfest – Final Fest Details Revealed
French Quarter Festivals, Inc. Emily Madero, President & CEO 400 North Peters, Suite 205 New Orleans, LA 70130 www.fqfi.org Contact: Rebecca Sell, Marketing Director Office: 504-522-5730/Cell: 504-343-5559 Email: [email protected] _____________________________________________________________________________________ FOR IMMEDIATE RELEASE 19th Anniversary Satchmo SummerFest presented by Chevron THREE FULL DAYS of FEST NEW ORLEANS, LA (July 25, 2019) – The 19th Anniversary Satchmo SummerFest presented by Chevron is August 2-4, 2019 at the New Orleans Jazz Museum at the Mint. Produced by French Quarter Festivals, Inc. (FQFI), Satchmo SummerFest is an unparalleled celebration of the life, legacy, and music of New Orleans' native son, Louis Armstrong. Recently named one of the most “interesting things to experience in Louisiana” by Oprah Magazine, the event brings performances from New Orleans’ most talented musicians, with a focus on traditional and contemporary jazz and brass bands. The nominal daily admission of $6 (children 12 and under are free) helps support local musicians and pay for the event. Admission also provides access to the Jazz Museum’s collection and exhibitions plus indoor activities like Pops’ Playhouse for Kids powered by Entergy and the Hilton Satchmo Legacy Stage featuring presentations by renowned Armstrong scholars. Ayo Scott Selected as 2019 Poster Artist New Orleans artist Ayo Scott was selected as the 2019 French Quarter Festivals, Inc. artist, creating the artwork for both the French Quarter Festival and Satchmo SummerFest posters. Scott graduated from Xavier University in 2003 and attended graduate school at The Institute of Design in Chicago. Immediately after Hurricane Katrina, he returned home to help the city rebuild. -
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. -
Biddy Girls Basketball Tournament Westwego, Louisiana
Biddy Girls Basketball Tournament Westwego, Louisiana EXECUTIVE SUMMARY The primary purpose of the study was to determine the economic significance of the Biddy Girls Basketball Tournament that was held on March 30-April 5, 2000 at The Alario Center in Westwego. The Year 2000 Biddy Basketball Tournament was comprised of 38 basketball teams, consisting of approximately 12 girls on each team. Approximately 17 teams were local; others were from Kansas, Dallas, Houston, or some as far as Puerto Rico and Finland. Surveys were conducted at The Alario Center to identify non–local visitors who were then asked to enumerate their expenditures during this event. In addition, coaches were also surveyed regarding team expenses. Hotels in the area provided information on the hotel room nights generated by the tournament. Results show a positive economic impact for Westwego and the surrounding communities generated by visitor spending on hotel rooms, admission tickets, concessions, meals, laundry, shopping, and entertainment. RESULTS Economic Significance l Total direct visitor expenditures was $279,920. l The average hotel room rate was $67.40. l The average amount paid per day for admission tickets was $15.00. l The average amount paid per day for concessions was $15.10. l The average amount paid for meals per day (outside of The Alario Center) was $39.94. l The average amount paid for local transportation was $14.10 per day. l The average amount paid for laundry each day was $.92. l The average per day spent on entertainment/recreation was $10.72. l The average per day spent on shopping was $41.08. -
The Port of New Orleans: an Economic History, 1821-1860. (Volumes I and Ii)
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1985 The orP t of New Orleans: an Economic History, 1821-1860. (Volumes I and II) (Trade, Commerce, Slaves, Louisiana). Thomas E. Redard Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Redard, Thomas E., "The orP t of New Orleans: an Economic History, 1821-1860. (Volumes I and II) (Trade, Commerce, Slaves, Louisiana)." (1985). LSU Historical Dissertations and Theses. 4151. https://digitalcommons.lsu.edu/gradschool_disstheses/4151 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a manuscript sent to us for publication and microfilming. While the most advanced technology has been used to pho tograph and reproduce this manuscript, the quality of the reproduction Is heavily dependent upon the quality of the material submitted. Pages In any manuscript may have Indistinct print. In all cases the best available copy has been filmed. The following explanation of techniques Is provided to help clarify notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When It Is not possible to obtain missing pages, a note appears to Indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap pears to Indicate this. -
Stonebridge Newsletter September 2016
STONEBRIDGE Property Owners Association Volume 33, Number 1 STONEBRIDGE SECURITY NEWS September 2016 General Membership Meeting for Stonebridge Property Owners Association September 21, 2016 at 7:00pm at Stonebridge Country Club tion or you see a violation of our restrictive hibited. The homes in this subdivision The President’s Corner covenants, please go to the website and click have large driveways allowing for room on ‘contact us’. You can leave a message and to park off the street. Please see Article 12 you will get a prompt response. We appreci- in SPOA Restrictive Covenants. As noted ate the input that you have sent us through above, to see these covenants go to the the website. It helps us to act quickly on an web site at Stonebridgesubdivision.com. issue. We also have a Facebook page and • Please try to pick up trash around the are a part of Nextdoor.com which is used front of your home. If you are walking the for information between residents. But if neighborhood, bring a bag with you and you have a specific problem that needs the deposit trash that you see in that bag. If we board’s help, using our website and clicking all do just a little, we will see a difference. on ‘contact us’ and sending the email gets • Please BAG your trash for the garbage to us faster and we can address it quickly. pickup and remember do not place it We are still working on replacing many of curbside before 4pm the day before pickup. the Stonebridge banners. -
Happy International Jazz Day from New Orleans with Herbie Hancock!
scpr.org http://www.scpr.org/blogs/newmedia/2012/04/30/5853/happy-international-jazz-day-new- orleans-herbie-ha/ Happy International Jazz Day from New Orleans with Herbie Hancock! Only in New Orleans could you get hundreds of people to wake up early on a Monday morning for a jazz concert - especially after three days of intense music and partying for the first weekend of the 2012 New Orleans Jazz & Heritage Festival. Well, sort of. As Mayor Mitch Landrieu said in his brief remarks opening this sunrise concert kicking off the first-ever UNESCO International Jazz Day, people kept telling him that they couldn't believe all these folks woke up for this. "I say, 'We never went to bed!'" he quipped, only half-kidding. You can watch video of the entire event on the International Jazz Day site here. The day started at 6:30 a.m. with drummers and dancers on the cobbled ground of Congo Square in what is now Louis Armstrong Park, the very spot where drummers and dancers gathered generations ago, slaves on their day off, free people of color and others drawing on the African and Haitian traditions they'd brought along the way. Over time, that developed into more elaborate musical forms, taken up by the pianists entertaining in the brothels and parlors of the neighboring Storyville development around the turn of the 20th century, and then out to the streets with the brass bands. That became jazz, and this very spot was its birthplace. The full evolution of the form played out in the course of the next hour.