Midnight Soul Cafe by Tetsuya Murakami 】 01

2017.5.25 on Air 【 Midnight Soul Cafe by Tetsuya Murakami 】 01. Find The Love / Mary J. Blige 02. Sittin' In The Park / Bobby Thurston 03. Rock Creek Park / The Blackbyrds 04. Garden Of Love / Keith Barrow 05. Every Kiss, Every Lies / Skoop On Somebody 06. The Morning After / Maze feat. Frankie Beverly 07. You Say, I Say / Phil Perry 08. Stop, Look, Listen (To Your Heart) / The Stylistics 09. Moonlight In Vermont / The Valtairs 2017.5.18 on Air 【ニューオーリンズ Now & Then 第2回 Then編】 01. Good Kinda Lovin / Jay King 02. Handa Wanda / The Wild Magnolias 03. Brother John / The Wild Tchoupitoulas 04. Something You Got / Chris Kenner 05. I Know / Barbara George 06. In The Night / Professor Longhair 07. Lipstick Traces / Benny Spellman 08. Ride Your Pony / Lee Dorsey 09. Stanky / Papa Grows Funk 10. Wake Up / Eddie Bo & Chris Barber 11. Just A Closer Walk With Thee / Allen Toussaint ゲスト：山岸潤史 2017.5.11 on Air 【ニューオーリンズ Now & Then 第1回 Now編】 01. Here Come The Girls / Trombone Shorty 02. On The Spot / The Hot 8 Brass Band 03. Tell Ya Mama Nem / Corey Henry 04. Dolla Diva (Live) / Galactic feat. Erica Falls 05. Havana Blues / The New Orleans Funk All-Stars 06. She / Harry Connick, Jr. 07. Justice / Dumpstaphunk feat. Trombone Shorty 08. Heaven / Aaron Neville ゲスト：山岸潤史 2017.5.4 on Air 【 Poll of The Month：Garden Song 特集】 01. Get To Know Me / Anthony AK King 02. The Magic Garden / The 5th Dimension 03. Digital Garden / Prince 04. Green Garden / Laura Mvula 05. Garden Of Our Trees / Explosions feat. Juanita Brooks 06. Nighttime Gardener / Bobby Rush feat. Keb' Mo' 07. A Wednesday In Your Garden / Ronnie Dyson 08. In Our Garden / Leon Ware 09. The Secret Garden (Sweet Seduction Suite) / Quincy Jones feat. Barry White, James Ingram, Al B. Sure!, El DeBarge & Siedah Garrett 10. Garden Of Love / Raheem DeVaughn .

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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.
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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.
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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.
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Gayneworleans.COM • Southerndecadence.COM • Gayeasterparade.COM • Jan
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UCLA Electronic Theses and Dissertations
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Kruisin' Da Krewes
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