WWOZ – New Orleans, LA 70116 726 St
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Ronnie Scott's Jazz C
GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 6 z 1 0 z 2 a r J e MEMBERSHIP TO b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n m e OR CALL: 020 74390747 n v o Europe’s Premier Jazz Club in the heart of Soho, London ‘Hugh Masekela Returns...‘ o N R Cover artist: Hugh Masekela Page 36 Page 01 Artists at a Glance Tues 1st - Thurs 3rd: Steve Cropper Band N Fri 4th: Randy Brecker & Balaio play Randy In Brasil o v Sat 5th: Terence Blanchard E-Collective e Sun 6th Lunch Jazz: Atila - ‘King For A Day’ m b Sun 6th: Ronnie Scott’s Jazz Orchestra e Mon 7th - Sat 12th: Kurt Elling Quintet “The Beautiful Day” r Thurs 10th: Late Late Show Special: Brandee Younger: A Tribute To Alice Coltrane & Dorothy Ashby Sun 13th Lunch Jazz: Salena Jones & The Geoff Eales Quartet Sun 13th: Dean Brown - Rolajafufu The Home Secretary Amber Rudd came up with Mon 14th - Tues 15th : Bettye LaVette Wed 16th - Thurs 17th : Marcus Strickland Twi-Life a wheeze the other day that all companies should Fri 18th - Sat 19th : Charlie Hunter: An Evening With publish how many overseas workers they employ. Sun 20th Lunch Jazz: Charlie Parker On Dial: Presented By Alex Webb I, in my naivety, assumed this was to show how Sun 20th: Oz Noy Mon 21st: Ronnie Scott’s Blues Explosion much we relied upon them in the UK and that a UT Tues 22nd - Wed 23rd: Hugh Masekela SOLD O dumb-ass ban or regulated immigration system An additional side effect of Brexit is that we now Thurs 24th - Sat 26th: Alice Russell would be highly harmful to the economy as a have a low strength pound against the dollar, Sun 27th Lunch Jazz: Pete Horsfall Quartet whole. -
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. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Shall We Dance Dancing has been an essential part of New Orleans’ psyche almost since its very beginning. Pierre François de Rigaud, Marquis de Vaudreuil-Cavagnal replaced Bienville, the city’s founder, as Governor of Louisiana. He set the standards high with his polished manners, frequently sponsoring balls, dinners, and other elegant social soirées. Serving from 1743 to 1753, he even provided the colony with a Parisian dancing master named Baby. Below are numerous quotes through the ages about the Crescent City’s special love affair with dancing: There were balls, with court dress de rigueur, where gaily uniformed officers danced with bejeweled women. This was the beginning of fashionable life in the colony. - LYLE SAXON, writing of “de Vaudreuil’s régime” in Old Louisiana The eccentricities of Baby's mind, as well as those of his physical organization had made him famous in the colony, and the doleful mien with which he used to give his lessons, had gained him the appellation of the Don Quixote of dancing. -Louisiana Historian CHARLES GAYARRÉ on Baby, the Dancing Master The female Creoles being in general without education, can possess no taste for reading music or drawing, but they are passionately fond of dancing … passing whole nights in succession in this exercise. - PIERRE-LOUIS BERQUIN-DUVALLON, Travels in Louisiana and the Floridas in the Year 1802, Giving the Correct Picture of Those Countries It’s the land where they dance more than any other. - LOUIS-NARCISSE BAUDRY DES LOZIÈRES, Second Voyage à la Louisiane, 1803 Upon my arrival at New Orleans, I found the people very Solicitous to maintain their Public Ball establishment, and to convince them that the American Government felt no disposition to break in upon their amusements … - GOVERNOR W. -
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. -
New Orleans and CBD Nominated and Designated Landmarks Street # Street Secondary Address Name Architect Date Nom/Des 1 Trianon P
New Orleans and CBD Nominated and Designated Landmarks Street # Street Secondary address Name Architect Date Nom/Des 1 Trianon Plaza Kelly House AJF Lorber 1925-26 Designated 2 Palm Terrace Palm Terrace Eilliam E. Spink 1925 Designated 4 Palm Terrace Designated 5 Palm Terrace Designated 6 Palm Terrace Designated 7 Bamboo Road Longue Vue House William Platt 1939-40 Designated 7 Palm Terrace Designated 8 Palm Terrace Designated 9 Palm Terrace Designated 10 Palm Terrace Designated 11 Palm Terrace Designated 12 Palm Terrace Designated 14 Audubon Boulevard Shwarz-Long-Sternberg House Emile Weil 1923 Designated 27 Audubon Place Flonacher-Helis House Weiss, Dreyfous & Seiferth 1927 Designated 115 Exchange Place Bank of America-Allison Building Gallier & Esterbrokke 1866 Designated 115 St. Charles Avenue Pickwick Club Henry Howard 1875 Designated 123 Baronne Street Rosevelt Hotel Toledano & Wogan 1908 Designated 125 St. Charles Avenue Magoffin-Pratt-Mainegra Buildings Unknown 1845 Designated 132 Baronne Street Church of the Immaculate ConceptionToledano & Wogan 1929-30 Designated 200 Carondelet Street National American Bank Moise Goldstein 1928-29 Designated 201 Julia Street People's Ice Warehouse/Marine SpecialtyUnknown Supply Co. 1885 Designated 210 State Street US Marine Hospital Percy Balch 1934 Designated 218 Roman Street (North) St. James A.M.E. Church Unknown 1849 Designated 228 Pelican Avenue Martin Behrman House Unknown 1895 Designated 237 Basin Street 1200 BienvilleLuLu Street White Unknown Designated 301 Carondelet Street Hibernia Bank Building Favrot & Livaudais 1920-21 Designated 317 Baronne Street Former Nopsi building Designated 333 St. Charles Avenue Masonic Temple Building Designated 400 Egania Street Milton P. Doullut House Unknown 1905-07 Designated 401 Celeste Street 1743 S. -
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. -
Fats Domino Goin' Home
“Goin’ Home” We’ll Miss You, Fats “Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.” - FATS DOMINO “As far as I know, the music makes people happy. I know it makes me happy.” - FATS DOMINO “Let's face it, I can't sing like Fats Domino can. I know that.” - ELVIS PRESLEY “Well, I wouldn't want to say that I started it (rock „n‟ roll), but I don't remember anyone else before me playing that kind of stuff.” - FATS DOMINO “Even if Fats didn‟t actually invent rock „n‟ roll, he was certainly responsible for accidentally inventing ska, and thus reggae … Antoine „Fats‟ Domino was definitely a great innovator, and richly deserves a much fatter entry in the history books.” – OWEN ADAMS On Tuesday, 3:30 a.m., October 24, 2017, New Orleans and the world lost a pioneering titan of rock „n‟ roll, “Fats” Domino. The popular pianist and singer-songwriter of the Lower 9th Ward was 89. During his career, this influential, yet humble performer sold more than 65 million records and had over 35 hits in the U.S. Billboard Top 40, including “Ain‟t That a Shame,” “Blueberry Hill” and “Blue Monday”. With producer and arranger Dave Bartholomew, “Fats” helped put his hometown on the rock „n‟ roll map. This shy lifelong New Orleanian influenced numerous artists including Paul McCartney and Randy Newman, who once confessed, “I was so influenced by Fats Domino that it‟s still hard for me to write a song that‟s not a New Orleans shuffle.” Domino‟s distinctive barreling triplet-based piano style, backed by a solid backbeat, was something exceptional, a step above traditional rhythm and blues. -
Pdf2019.04.08 Fontana V. City of New Orleans.Pdf
Case 2:19-cv-09120 Document 1 Filed 04/08/19 Page 1 of 16 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF LOUISIANA LUKE FONTANA, Plaintiff, CIVIL ACTION NO.: v. JUDGE: The CITY OF NEW ORLEANS; MAYOR LATOYA CANTRELL, in her official capacity; MICHAEL HARRISON, FORMER MAGISTRATE JUDGE: SUPERINTENDENT OF THE NEW ORLEANS POLICE DEPARTMENT, in his official capacity; SHAUN FERGUSON, SUPERINTENDENT OF THE NEW ORLEANS POLICE DEPARTMENT, in his official capacity; and NEW ORLEANS POLICE OFFICERS BARRY SCHECHTER, SIDNEY JACKSON, JR. and ANTHONY BAKEWELL, in their official capacities, Defendants. COMPLAINT INTRODUCTION 1. For more than five years, the City of New Orleans (the “City”) has engaged in an effort to stymie free speech in public spaces termed “clean zones.” Beginning with the 2013 Super Bowl, the City has enacted zoning ordinances to temporarily create such “clean zones” in which permits, advertising, business transactions, and commercial activity are strictly prohibited. Clean zones have been enacted for various public events including the 1 Case 2:19-cv-09120 Document 1 Filed 04/08/19 Page 2 of 16 Superbowl, French Quarter Festival, Satchmo Festival and Essence Festival. These zones effectively outlaw the freedom of expression in an effort to protect certain private economic interests. The New Orleans Police Department (“NOPD”) enforces the City’s “clean zones” by arresting persons engaged in public speech perceived as inimical to those interests. 2. During the French Quarter Festival in April 2018, Plaintiff Luke Fontana was doing what he has done for several years: standing behind a display table on the Moonwalk near Jax Brewery by the Mississippi riverfront. -
Life on a High Note
The pitchpipemagazine.com | April 2019 | Volume 72 — No.4 PitchTHE VOICE OF SWEET ADELINES Pipe INTERNATIONAL Life on a High Note. TPP_April_2019_FINAL.indd 1 3/6/19 11:00 AM Barbershoppin’ the Big Easy! Experience the historic neighborhoods, iconic streets, fabulous food and rich musical history of New Orleans during Sweet Adelines International Convention and Competition. Join us for our greatest week of the year! Save up to $50 USD on early registration! Early registration pricing ends May 29, 2019 73rd Annual Convention and Competition Sept. 16-21, 2019 • Smoothie King Center New Orleans, La., USA Visit www.sweetadelines.com/neworleans for registration and event information. TPP_April_2019_FINAL.indd 2 3/6/19 11:00 AM The PitchApril 2019 • Volume Pipe 72 — No.4 Visioning Retreat participants gather for a photo at Sweet Adelines International Headquarters in Tulsa, OK (USA). Features Headquarters Headlines 18 Open Division Q&A with Paula Davis 4 Judge Training with Lustre 20 Born to Teach 6 Meet New IBOD Member Jennifer Harris 21 Introducing the Arranger Certification Program 7 Meet New IBOD Member Leslie Galbreath 22 Countdown to 75 Years 8 Learning to Listen by Being Heard 37 My Director Always Says... 40 2018 Donor List 38 Friendship Week – An Amazing Experience! 48 Regional Calendar Swedish and Japanese Choruses Sing in Harmony Together In Every Issue 3 From Our President Events 5 From Our CEO 10 Sing and Celebrate at Sweet Adelines 25 Harmony Roundup International Education Symposium 2019 46 Accolades/In Memory 14 A Brand New Song and Dance: Directors and Visual Leaders Seminar 2019 On The Cover 26 Barbershoppin' the Big Easy! 73rd Annual Convention and Competition These images of our members in action were captured at the 2018 Sweet Adelines International Convention in St. -
CPC Proposed Vol 2 Ch 14 Amendments
VOLUME 2 | CHAPTER 14 | LAND USE PLAN chapterr 14 LAND USE PLAN GOAL POLICIES FOR DECISION MAKERS NEIGHBORHOODS 1 Promote smart • Preserve and support the character of successful residential growth land use neighborhoods. patterns in New • Revitalize challenged neighborhoods with new development that Orleans and the contributes to character and new vitality. region. • Locate higher-density uses at existing and proposed transit stations and hubs for critical mass and locate new transit to serve higher density areas. • Make downtown a vibrant 24-hour neighborhood and commercial/entertainment district. • Convert suburban style commercial strips and malls into walkable mixed-use centers. • Create neighborhood centers with a mixture of higher-density housing, retail and other uses at neighborhood edges on underutilized industrial/commercial land and key transit hubs. • Avoid new development where new infrastructure would be required. • Take advantage of vacant land on higher ground for higher density uses. • Preserve and protect environmentally sensitive land and coastal areas. • Promote walkable, mixed-use environments. 2 Promote • Establish urban design frameworks to guide new chain store, development that can office, and light industrial development so that it improves the strengthen the city’s public realm and fits into the urban fabric. tax and job base • Preserve land for industrial uses where there are active and while serving citizen prospective uses. needs and preserving city character. 3 Strengthen the • Establish design principles and standards in zoning and design city’s public realm guidelines for specific areas. and urban design • Create a framework for accepting, placing and maintaining public character. art in a way that ensures excellence and cost-effectiveness. -
If You Are Interested in Operating a Food Truck in Any of the Yellow Areas
If you are interested in operating a food truck in any of the yellow areas indicated on the City’s Food Truck Operating Areas map*, you must first obtain a City-issued food truck permit (mayoralty permit) and an occu- pational license. This guide will help you understand how to apply, and if you are approved, what general requirements you will need to abide by. *The referenced map is for guidance purposes only. The City shall provide an applicant the specific type of application (permit or franchise) for a specific area. PREREQUISITES FOR APPLICATION: The application process begins with the City’s One Stop for licenses and permits, which is located on the 7th floor of City Hall (1300 Perdido Street). Along with a completed application, on forms provided by the City, you must also have all of the documents, certifications and inspections listed below. No application shall be processed until all required documentation is received. No applicant is guaranteed a Permit. A copy of the mobile food truck’s valid registration with the Louisiana Department of Motor Vehicles. All trucks must be registered in the State of Louisiana. A copy of automobile insurance for the mobile food truck, providing insurance coverage for any automo- bile accident that may occur while driving on the road. A copy of your commercial general liability insurance coverage policy with liability coverage of at least $500,000, naming the City as an insured party, providing insurance coverage for any accident that may occur while selling your food and conducting your business on the public rights-of-ways. -
Riverfront Expressway Cancellation, Shuddering at the New Orleans That Could Have Been
Geographies of New Orleans Fifty Years After Riverfront Expressway Cancellation, Shuddering at the New Orleans That Could Have Been Richard Campanella Geographer, Tulane School of Architecture [email protected] Published in the New Orleans Picayune-Advocate, August 12, 2019, page 1. Fifty years ago this summer, reports from Washington D.C. reached New Orleans that John Volpe, secretary of the Department of Transportation under President Richard Nixon, had cancelled the Riverfront Expressway—the high-speed, elevated interstate slated for the French Quarter. The stunning news, about a wildly controversy plan that had divided the community for years, was met with elation by the city’s growing preservationist movement, and head-shaking disappointment by local leaders in both the public and private sectors. A half-century on, the cancellation and the original proposal invite speculation —part mental exercise, part cautionary tale—about what greater New Orleans might look like today had the Riverfront Expressway gone forward. And it very nearly did: conventional wisdom at the time saw the new infrastructure as an inevitable step toward progress, following the lead of many other waterfront cities, including New York, San Francisco, and Seattle. But first, a recap on how the New Orleans plan got to Volpe’s desk. Rendering from Robert Moses' Arterial Plan for New Orleans, 1946, page 11, courtesy collection of R. Campanella The initial concept for the Riverfront Expressway emerged from a post-World War II effort among state and city leaders to modernize New Orleans’ antiquated regional transportation system. Toward that end, the state Department of Highways hired the famous—many would say infamous—New York master planner Robert Moses, who along with Andrews & Clark Consulting Engineers, released in 1946 his Arterial Plan for New Orleans.