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Get Your Butt Off Bourbon Street, and Cross Over To
Rip up your tourist brochures! Get your butt off Bourbon Street, and cross over to the “other side.” Our no-holds-barred insider’s guide only is the thing you’ll ever need to experience New Orleans—and Mardi Gras—the way the coolest locals do. “NEW ORLEANS WAS a place to hide,” wrote Charles Bukowski, the dive sweeping up the horrors of Hurricane Katrina. That means fresh hell if bard and Barfly author. “I could piss away my life there.” you are in the French Quarter, where mounted police are just waiting for Which is what this most infamous city is for most visitors, especially the opportunity to pounce. during Mardi Gras season: a place to get hammered and stay that way, Why get laid over in Obvious Land, when you could be imbibing and lose your shirt, then your shit, hit the strip clubs and tourist traps of inhaling the spookiest, sexiest, tastiest, most haunted and hedonistic Bourbon Street, spend your cash on countless $9 Hurricane drinks and metropolis in the U.S., perhaps the world? “slippery nipple” shooters, all the while screaming, “Show us your tits!” Hide your wallet in your tighty-whities and follow our A-team of ex- at boozy, floozy coeds gone wild. perts—all seasoned veterans of crawling and brawling through every But is that what you really want to do when you’re in this “strange, dec- inch of the city—taking you, among many other best-kept secrets, to adent city,” as vampire novelist Anne Rice called it, for a long (read: lost) the extended block party of the Faubourg weekend? The entire time? BY STEVE GARBARINO Marigny’s Frenchmen Street, as well as a Mardi Gras this year falls on February 24—Fat Tuesday, as it’s called— PHOTOGRAPHS BY rollicking bar run down Magazine Street. -
Electronic Sales Tax Return - General Instructions 1
R-1029Ei (7/18) Electronic Sales Tax Return - General Instructions 1. Who Should File: All persons and dealers who are Revenue (LDR) is assigning business codes to sales tax 5. Paid Preparer: If this return was prepared by a paid subject to the tax levied under Chapter 2 of Subtitle II accounts based upon the North American Industry preparer, he or she must complete the paid preparer of Title 47 of the Louisiana Revised Statutes of 1950 as Classification System (NAICS). If your sales tax account information. That person must enter their name and amended, are required to file a tax return monthly or currently does not have a NAICS code assigned to it, identification number when preparing and filing the quarterly. Returns are due on or before the 20th day of please include this information on your sales tax return. return. If the paid preparer has a PTIN, the PTIN must each month for the preceding calendar month or quarter. NAICS codes may be found on your federal corpo- be provided; otherwise, the FEIN or LDR account num- If the due date falls on a weekend or holiday, the return rate income tax return or on your Louisiana Workforce ber must be provided. If the paid preparer represents a is due the next business day and becomes delinquent the Commission account. NAICS codes may also be found firm, the firm’s FEIN must also be provided. The failure next day thereafter. on the U.S. Census Bureau’s webpage at www.census.gov. of a paid preparer to sign or provide an identification 2. -
Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 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]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
Ojai North Music Festival
CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening. -
Black Uhuru Tear It up - Live Mp3, Flac, Wma
Black Uhuru Tear It Up - Live mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Tear It Up - Live Country: Canada Released: 1982 Style: Reggae, Roots Reggae MP3 version RAR size: 1689 mb FLAC version RAR size: 1153 mb WMA version RAR size: 1113 mb Rating: 4.3 Votes: 124 Other Formats: ADX AAC AA VOX AA AHX WMA Tracklist Hide Credits Shine Eye Gal A1 4:24 Written-By – D. Simpson*, M. Rose* Plastic Smile A2 3:34 Written-By – M. Rose* Abortion A3 5:25 Written-By – D. Simpson*, M. Rose* General Penitentiary A4 5:11 Written-By – M. Rose* Guess Who's Coming To Dinner B1 3:46 Written-By – M. Rose* I Love King Selassie B2 4:20 Written-By – D. Simpson*, M. Rose* Sinsemilla B3 3:20 Written-By – M. Rose* Leaving For Zion B4 7:50 Written-By – M. Rose* Companies, etc. Mixed At – Fallout Shelter Credits Bass Guitar – Robbie Shakespeare Design [Sleeve Design] – Bruno Tilley Drums – Sly Dunbar Engineer [Mobile Recording] – Alex Sadkin Harmony Vocals – Duckie Simpson, Puma Jones Keyboards – Keith Sterling Lead Guitar – Darryl Thompson Lead Vocals – Michael Rose Mixed By, Other [Live Sound] – Godwin Logie Percussion – Skyjuice* Photography By – Adrian Boot, Peter Murphy Rhythm Guitar – Mikey Chung Notes Recorded on tour in Europe 1981. / Mixed at Fallout Shelter, London. This release is a part of The "Island Life Collection" was released 1984 or later. (Island Records Celebrating Their 25 Years). ℗ 1982 Original Sound Recording / © 1982 Island Records Ltd. / Made by Island Inc. Barcode and Other Identifiers Barcode: 4 007192 043675 Label Code: -
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. -
WEEKLY 1993 April 1 2 3 INBC 4 UL0 0 6 5 6 789 10 ;1121314 1516 17 $3.00 VV3 1 2- 21 2223 24 $2.80 Plus .20 GST S G59 N\ a 20 18 1920 25 262728 2930 Volume 57 No
WEEKLY 1993 April 1 2 3 INBC 4 UL0 0 6 5 6 789 10 ;1121314 1516 17 $3.00 VV3 1 2- 21 2223 24 $2.80 plus .20 GST s g59 N\ A 20 18 1920 25 262728 2930 Volume 57 No. 9 1 55 25 2 IA At\ 23 2.4 Week Ending March 13, 1993 2;26 No. 1 ALBUM ALBUM PICK BAD GIRL PRAIRIE TOWN Madonna Bachman THATS WHAT LOVE CAN DO WHAT YOU WON'T DO FOR LOVE ; Go West Boy Krazy ARE YOU GONNA GO MY WAY AMAZON RAIN Paul Janz Lenny Kravitz : SLEEPING SATELLITE BRIAN WILSON Tasmin Archer Barenaked Ladies IF THIS IS LOVE ERIC CLAPTON I HAVE NOTHING Whitney Houston DAN HILL Barney Bentall Unplugged Let Me Show You LOVE IS Reprise - CDW-45024-P CONNECTED Quality - OCD 2016 Stereo Mc's Vanessa Willaims/B. McKnight COLDER THAN YOU WILL YOU REMEMBER ME The Waltons Jann Arden INFORMER DON'T WALK AWAY Snow Jade SO CLOSE WHO DO YOU THINK YOU ARE VAN HALEN Dina Carroll Sass Jordan AB BA . Live: Right Here, Right Now WATER FROM THE ii50N. : BROTHER LOUIE Gold NAUGHTY BY NATURE Quireboys Celine Dion 19 Naughty Ill MICHAEL JACKSON I SEE YOU SMILE REAL WORLD Dangerous VAN MORRISON Alanis Gloria Estefan The Best Of - Volume Two ALADDIN Soundtrack LOST IN YOUR EYES APACHE INDIAN The Jeff Healey Band No Reservations 2 AWESOME various artists PRIDE & JOY THE PURSUIT OF HAPPINESS HIT PICK Coverdale - Page The Downward Road JOHN MeDERMOTT PASSIONATE KISSES Danny Boy . Mary -Chapin Carpenter THE THE COUNTRY THE RIGHT KIND OF LOVE ADDS Dusk Jeremy Jordan K.D. -
In This Issue
Vol II issue 1 Vol. II, issue 1 1 Photo / Bob Compton 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 1 3 Photo / Michael P. Smith In This Issue... Beat Street returns with a dual focus this month on the inimitable James Booker and the thirtieth anniversary of the Maple Leaf Bar. Eminent Booker scholars David Ku- nian, Tom McDermott and Josh Paxton weigh in on why Booker was so heavy. -
To See the Full #Wemakeevents Participation List
#WeMakeEvents #RedAlertRESTART #ExtendPUA TOTAL PARTICIPANTS - 1,872 and counting Participation List Name City State jkl; Big Friendly Productions Birmingham Alabama Design Prodcutions Birmingham Alabama Dossman FX Birmingham Alabama JAMM Entertainment Services Birmingham Alabama MoB Productions Birmingham Alabama MV Entertainment Birmingham Alabama IATSE Local78 Birmingham Alabama Alabama Theatre Birmingham Alabama Alys Stephens Performing Arts Center (Alabama Symphony) Birmingham Alabama Avondale Birmingham Alabama Iron City Birmingham Alabama Lyric Theatre - Birmingham Birmingham Alabama Saturn Birmingham Alabama The Nick Birmingham Alabama Work Play Birmingham Alabama American Legion Post 199 Fairhope Alabama South Baldwin Community Theatre Gulf Shores Alabama AC Marriot Huntsville Alabama Embassy Suites Huntsville Alabama Huntsville Art Museum Huntsville Alabama Mark C. Smith Concert Hall Huntsville Alabama Mars Music Hall Huntsville Alabama Propst Arena Huntsville Alabama The Camp Huntsville Alabama Gulfquest Maritime Museum Mobile Alabama The Steeple on St. Francis Mobile Alabama Alabama Contempory Art Center Mobile Alabama Alabama Music Box Mobile Alabama The Merry Window Mobile Alabama The Soul Kitchen Music Hall Mobile Alabama Axis Sound and Lights Muscle Shoals Alabama Fame Recording Studio Muscle Shoals Alabama Sweettree Productions Warehouse Muscle Shoals Alabama Edwards Residence Muscle Shoals Alabama Shoals Theatre Muscle Shoals Alabama Mainstreet at The Wharf Orange Beach Alabama Nick Pratt Boathouse Orange Beach Alabama -
Wavelength (June 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 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]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio. -
NBA Arenas: Timeline and Cost of Development DRAFT 9/20/2017
NBA Arenas: Timeline and Cost of Development DRAFT 9/20/2017 Facility City Year Opened Total Cost Private Private (%) Public Public (%) Key Arena* Seattle 2020 (Expected)$ 565 $ 565 100%$ - 0% Chase Center San Francisco 2019 (Expected)$ 1,000 $ 1,000 100% $ - 0% Quicken Loans Arena 1 Cleveland 2019 (Expected)$ 140 $ 70 50%$ 70 50% Bucks Arena Milwaukee 2018 (Expected)$ 524 $ 274 52% $ 250 48% Philips Arena 1 Atlanta 2018 (Expected)$ 193 $ 50 26%$ 143 74% Little Caesars Arena Detroit 2017$ 733 $ 448 61% $ 285 39% Target Center 1 Minneapolis 2017$ 129 $ 55 43%$ 74 57% Vivint SmartHome Arena 1,2 Salt Lake City 2017$ 125 $ 102 82%$ 23 18% Golden1 Center Sacramento 2016$ 507 $ 284 56% $ 223 44% AT&T Center 1 San Antonio 2015$ 112 $ 27 24%$ 85 76% TD Garden 1 Boston 2015$ 70 $ 70 100%$ - 0% Moda Center 1 Portland 2015$ 16 $ 16 100%$ - 0% Madison Square Garden 1 New York City 2013$ 1,200 $ 1,200 100%$ - 0% Smoothie King Center 1 New Orleans 2013$ 54 $ - 0%$ 54 100% Talking Stick Resort Arena Phoenix 2012$ 10 $ 3 30%$ 7 70% Barclays Center 3 Brooklyn 2012$ 1,034 $ 396 38% $ 638 62% Chesapeake Energy Arena 1 Oklahoma City 2011$ 104 $ - 0%$ 104 100% Air Canada Centre 1 Toronto 2010$ 48 $ 48 100%$ - 0% Amway Center Orlando 2010$ 480 $ 62 13% $ 418 87% United Center 1 Chicago 2009$ 188 $ 174 93%$ 13 7% Verizon Center 1,7 Washington, DC 2007$ 50 $ - 0%$ 50 100% Time Warner Cable Arena Charlotte 2005$ 265 $ 35 13% $ 231 87% FedEx Forum Memphis 2004$ 270 $ 16 6% $ 254 94% Talking Stick Resort Arena 1 Phoenix 2003$ 67 $ 42 63%$ 25 37% Toyota Center Houston