Violent Crime, Moral Transformation, and Urban Redevelopment in Post-Katrina New Orleans
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STEVE DUB – MIXER, PRODUCER, CO-WRITER (Selected Discography)
STEVE DUB – MIXER, PRODUCER, CO-WRITER (Selected Discography) Beyond The Wizard’s The Soft Bounce (LP) Phantasy Add Prod/Mix Sleeve Slovenlie Forthcoming EP Global Prod/Mix New Order Complete Music (LP) Mute Mix Chris Olsson Forthcoming tracks TBC Mix HOST Forthcoming EP Global Add-Prod/Mix Mandall & Forbes Really Love CR2 Vocal Prod/Mix Fuel Fandango Aurora (LP) Warner Add Prod/Mix Shelter Point Forthcoming tracks Space + Time Add-Prod/Mix 19Hundred ‘Oh Boy’ feat DAZE (single) Soundplate Mix The Chemical Brothers Born In The Echoes (LP) Virgin EMI Rec/Eng/Mix Sander Kleinenberg Wicked Things feat. Audio Spinnin’ Co-write/Prod/Mix Bullies (single) The Chemical Brothers This Is Not A Game feat. Miguel Republic Mix (OST - The Hunger Games: Mockingjay Pt. 1) Erol Alkan Illumination (EP) Phantasy Sound Mix Ali Love P.U.M.P (LP) Crosstown Co-write/Prod/Mix Rebels Clean Bandit New Eyes (LP tracks) Warner Mix Klaxons Love Frequency (LP tracks) Sound Wave Prod/Mix Jagwar Ma ‘Man I Need’, ‘Let Her Go’ Marathon Mix (HoWlin’ LP) Tinie Tempah Looking Down The Barrel Parlophone Mix (Demonstration LP) Jack Beats Somebody To Love (LP) Sony Mix Jack Beats Careless (LP) Sony Mix Dev Bass Down Low feat. The Universal Co-write/Prod/Mix Cataracs (5K Remix) Republic Jakwob Electrify feat. Jetta (single) Mercury Co-write/Add- Prod/Mix Sander Kleinenberg ‘Closer’ and ‘Wish I Said’ (5K LP) This Is Co-write/Prod/Mix Recordings Sasha Cut Me Down (single) Last Night On Mix Earth The Feeling Searched Every Corner Mix Island UNKLE Where Did The Night Fall (LP) Surrender All Mix The Chemical Brothers Further (LP) Virgin Mix Tiësto & MarK Knight Beautiful World feat. -
NOR 15-Final.Pdf
New Orleans Review Spring 1988 Editors John Biguenet· John Mosier Managing Editor Sarah Elizabeth Spain Design Vilma Pesciallo Contributing Editors Bert Cardullo David Estes Jacek Fuksiewicz Alexis Gonzales, F.S.C. Bruce Henricksen Andrew Horton Peggy McCormack Rainer Schulte Founding Editor Miller Williams Advisory Editors Richard Berg Doris Betts Joseph Fichter, S.J. John Irwin Murray Krieger Frank Lentricchia Raymond McGowan Wesley Morris Walker Percy Herman Rapaport Robert Scholes Marcus Smith Miller Williams The New Orleans Review is published by Loyola University, New Orleans, Louisiana 70118, United States. Copyright© 1988 by Loyola University. Critical essays relating to film or literature of up to ten thousand words should be prepared to conform with the new MLA guidelines and sent to the appropriate editor, together with a stamped, self-addressed envelope. The address is New Orleans Review, Box 195, Loyola University, New Orleans, Louisiana 70118. Fiction, poetry, photography or related artwork should be sent to the Art and Literature Editor. A stamped, self-addressed envelope should be enclosed. Reasonable care is taken in the handling of material, but no responsibility is assumed for the loss of unsolicited material. Accepted manuscripts are the property of the NOR. The New Orleans Review is published in February, May, August, and November. Annual Subscription Rate: Institutions $30.00, Individuals $25.00, Foreign Subscribers $35.00. Contents listed in the PMLA Bibliography and the Index of American Periodical Verse. US ISSN 0028-6400 Photographs of Gwen Bristow, Ada Jack Carver, Dorothy Dix, and Grace King are reproduced courtesy the Historic New Orleans Collection, Museum/Research Center, Acc. -
Resignations and Removals: a History of Federal Judicial Service-And Disservice-1789-1992
RESIGNATIONS AND REMOVALS: A HISTORY OF FEDERAL JUDICIAL SERVICE-AND DISSERVICE-1789-1992 EMILY FIELD VAN TASSEL- Thomas Jefferson's dismay over the failed impeachment of Supreme Court Justice Samuel Chase in 1805 led him later to complain that "impeachment is not even a scarecrow."1 Subse- quent events have proven Jefferson wrong. Although the full panoply of the impeachment process has been used rarely, its existence has given Congress an impressively big stick to wield in persuading miscreant judges to leave the bench.2 Since Jefferson's time, our experience has suggested two important conclusions about judicial discipline and removal. The first is that investigations, threats of investigations, and threats of impeachment can be very powerful tools in inducing judges to resign from office voluntarily. The second is that these tools have a great potential for misuse. Judicial independence is a core value supported by the constitu- tional structure of the federal judiciary. The appointment process, salary protection, and removal mechanism are all means to ensure that federal judges be independent and impartial in their decision- t Visiting Associate Professor, Widener University School of Law. This Article is dedicated to the memory of my brother, Dirck Van Tassel. An earlier version of this Article was prepared as a report to the National Commission onjudicial Discipline and Removal, while I was Associate Historian with the Federal judicial History Office of the Federal Judicial Center. The views and conclusions expressed in this Article are my own and do not necessarily represent the views of the FederalJudicial Center, which, on matters of policy, speaks only through its Board. -
To Improve the Qualityof Life for All Citizens of Our Area, Now
Dear Friends, Thanks to the efforts of many, the region served by the Greater New Orleans Foundation has begun a journey up from hurricane-inflicted disaster toward hope. to improve the of It is not an easy path, nor is it for the faint of heart. At times it feels like a quality yearlong sprint or a marathon that will last many years. But signs are everywhere that you and the great people of southeastern Louisiana are more than able. In for all citizens of our area, this report you will see signs in the hands of children, who are the best reason for life imagining—and creating—a livable, economically strong community. When Hurricane Katrina’s wind and floodwaters subsided, it became clear that generations of leaders and supporters of the Greater New Orleans Foundation had now and for future generations put the organization in a unique position. Now, it would be called upon to play both traditional and completely unexpected new roles in the recovery. Thanks to that history of support, to more than $25 million in new gifts and this is where we belong we are pledges from organizations and individuals, and to the way political, business and nonprofit leaders turned to the Foundation for leadership, the Greater New Orleans Foundation is poised to lead in the years ahead. home to stay in New Orleans We believe that creating a dynamic future for the region depends on three key areas of focus: a skilled workforce; safe, affordable neighborhoods; and great pub- lic schools. Since Katrina, the Foundation’s Board and staff have embraced the role of devoting their efforts to achieving and measuring success in those areas. -
Neil Mclellan Complete CV
Neil McLellan Producer / Mixer / Programmer Producer / Songwriter Neil McLellan, currently the Creative Director of New York based multi-service Production company The Lodge, has enjoyed past successes with groups from Oasis to Madonna. He is internationally recognized for his work with the British dance act, The Prodigy, with his production, writing and mixing credits on all of their most successful releases. Prodigy ‘Invaders Must Die’ / Album MIx Senser Forthcoming Album Add Prod / Mix Prodigy ‘Always Outnumbered, Never Outgunned’ Co-prod / Mix / Co-write Carl Cox ‘Second Sign’ Album / Singles Co-prod / Co-write U.N.K.L.E. Sunna / Single Mix Terrorvision ‘Good To Go’ / Album / Singles Prod / Mix Brother Brown ‘Starcatching Girl’ / Single Add Prod / Mix Sasha ‘Xpander’ / single Mix Manu Chao ‘50 Millions’ / Single Mix Southern Fly Forthcoming album Co-Prod / Mix Regular Fries ‘Mash Man’ / album Prog / Prod Gintare ‘Earthless’ / album Mix Carl Cox ‘Phuture 2000’ / single Mix Bedlam A Go Go ‘Estate Style Entertainment’ / single Prod / Mix Supercharger ‘We Rock’ / single Mix Prodigy ‘Smack My Bitch Up’ / single Eng / Mix ‘Firestarter’ / single Eng / Mix ‘Breathe’ / single Eng / Mix ‘Minefield’ / single Eng / Mix ‘Music For The Jilted Generation’ / album Co-Prod / Mix ‘Voodoo People’ / single Co-Prod / Mix ‘Full Throttle’ / single Co-Prod / Mix ‘No Good (Start The Dance)’ / single Co-Prod / Mix ‘One Love’ / single Co-Prod / Mix ‘Poison’ / single Mix Erasure ‘Cowboy’ / album Co-Prod / Mix Archive ‘Londinium’ / album / singles Co-Prod / Mix -
A Medley of Cultures: Louisiana History at the Cabildo
A Medley of Cultures: Louisiana History at the Cabildo Chapter 1 Introduction This book is the result of research conducted for an exhibition on Louisiana history prepared by the Louisiana State Museum and presented within the walls of the historic Spanish Cabildo, constructed in the 1790s. All the words written for the exhibition script would not fit on those walls, however, so these pages augment that text. The exhibition presents a chronological and thematic view of Louisiana history from early contact between American Indians and Europeans through the era of Reconstruction. One of the main themes is the long history of ethnic and racial diversity that shaped Louisiana. Thus, the exhibition—and this book—are heavily social and economic, rather than political, in their subject matter. They incorporate the findings of the "new" social history to examine the everyday lives of "common folk" rather than concentrate solely upon the historical markers of "great white men." In this work I chose a topical, rather than a chronological, approach to Louisiana's history. Each chapter focuses on a particular subject such as recreation and leisure, disease and death, ethnicity and race, or education. In addition, individual chapters look at three major events in Louisiana history: the Battle of New Orleans, the Civil War, and Reconstruction. Organization by topic allows the reader to peruse the entire work or look in depth only at subjects of special interest. For readers interested in learning even more about a particular topic, a list of additional readings follows each chapter. Before we journey into the social and economic past of Louisiana, let us look briefly at the state's political history. -
The Peformative Grotesquerie of the Crucifixion of Jesus
THE GROTESQUE CROSS: THE PERFORMATIVE GROTESQUERIE OF THE CRUCIFIXION OF JESUS Hephzibah Darshni Dutt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2015 Committee: Jonathan Chambers, Advisor Charles Kanwischer Graduate Faculty Representative Eileen Cherry Chandler Marcus Sherrell © 2015 Hephzibah Dutt All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor In this study I argue that the crucifixion of Jesus is a performative event and this event is an exemplar of the Grotesque. To this end, I first conduct a dramatistic analysis of the crucifixion of Jesus, working to explicate its performativity. Viewing this performative event through the lens of the Grotesque, I then discuss its various grotesqueries, to propose the concept of the Grotesque Cross. As such, the term “Grotesque Cross” functions as shorthand for the performative event of the crucifixion of Jesus, as it is characterized by various aspects of the Grotesque. I develop the concept of the Grotesque Cross thematically through focused studies of representations of the crucifixion: the film, Jesus of Montreal (Arcand, 1989), Philip Turner’s play, Christ in the Concrete City, and an autoethnographic examination of Cross-wearing as performance. I examine each representation through the lens of the Grotesque to define various facets of the Grotesque Cross. iv For Drs. Chetty and Rukhsana Dutt, beloved holy monsters & Hannah, Abhishek, and Esther, my fellow aliens v ACKNOWLEDGMENTS St. Cyril of Jerusalem, in instructing catechumens, wrote, “The dragon sits by the side of the road, watching those who pass. -
Resituating Transatlantic Opera: the Case of the Théâtre D'orléans, New
Resituating Transatlantic Opera: The Case of the Théâtre d’Orléans, New Orleans, 1819–1859 Charlotte Alice Bentley Emmanuel College October 2017 This dissertation is submitted for the degree of Doctor of Philosophy ABSTRACT This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. -
Breathe Prodigy Mp3 Free Download
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Symphonic Constructions of American National Identity, 1840–1870
MUSIC OF A MORE PERFECT UNION: SYMPHONIC CONSTRUCTIONS OF AMERICAN NATIONAL IDENTITY, 1840–1870 Douglas William Shadle A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2010 Approved By: Mark Evan Bonds, Chair Annegret Fauser Jon Finson Mark Katz Philip Vandermeer ABSTRACT DOUGLAS SHADLE: Music of a More Perfect Union: Symphonic Constructions of American National Identity, 1840–1870 (Under the direction of Mark Evan Bonds) The genre of the symphony has long been recognized as a medium for constructing national identities in German, French, and Russian culture, yet little is known about the genre’s history in the United States. Between 1840 and 1870, the era of the first generation of American orchestral composers, it served as a potent means of expressing American national identity. During this period of American cultural history, two separate processes shaped conceptions of national identity: decolonization from Great Britain and a nascent sense of imperial expansionism. This dissertation explores how mid-century American symphonic composers musically constructed national identities reflecting these conceptions and argues that this practice continued well into the twentieth century. Composers who focused on decolonization generally employed one of two separate strategies. The first was emulation, or copying European symphonic models with the intention of continuing the symphonic tradition. George Frederick Bristow (1825– 1898), for example, wrote symphonies that might be mistaken for music by Mendelssohn or Schumann. The second strategy was exceptionalism, or selectively omitting traditional stylistic elements in order to pave new musical pathways. -
The Best of The
THE BEST OF THE ™ CHANUKAH 2014 / 5775 New Orleans Holocaust Memorial by Yaacov Agam Photo by Hunter Thomas Photography New Orleans U NDERDOGS? Never underestimate the resilient spirit of New Orleanians. The Jewish New Orleans community only totaled about a decisive victory at the Battle of New Orleans was quite the ego dozen men when the Louisiana Purchase was signed in 1803. boast for the underdog militia. It was a banner of pride to be However there are indications that they were quite comfortable worn proudly that, no matter what the obstacles, success would and connected in their newly adopted home. A decade later—at come to those fi ghting on the right side. the Battle of New Orleans most of these same Jewish men were fi ghting alongside Andrew Jackson’s troops defending and pro- Although the Crescent City Jewish News website is about tecting their beloved hometown of New Orleans. four years old, our commitment to the New Orleans Jewish community through our print issues is in its second year. This Who were these men who settled into the New Orleans com- publication—The Best of the Crescent City Jewish News – is the munity more than two centuries ago? First, of all , they were third issue of our semi-annual publications, which document the men seeking economic opportunities to improve their fi nancial events of the past several months. With each publication, we are well being and social standing. They voluntarily relocated from reaching more of our core local Jewish audience. Like those brave large Northeast and New England communities fi lled with the Jewish defenders of New Orleans from a previous century, we are security of their family and friends to an isolated region full of also proud to acknowledge that each new publication affords us high humidity, swamps teeming with alligators and disease car- invaluable recognition from our fellow journalists on the quality rying mosquitoes. -
The Louisiana Scalawags. (Volumes I and II). Francis Joseph Wetta Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1977 The Louisiana Scalawags. (Volumes I and II). Francis Joseph Wetta Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Wetta, Francis Joseph, "The Louisiana Scalawags. (Volumes I and II)." (1977). LSU Historical Dissertations and Theses. 3176. https://digitalcommons.lsu.edu/gradschool_disstheses/3176 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 material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.