The Krewe of Lafcadio
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"Throw Me Something, Mister": the History of Carnival Throws in New Orleans
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-20-2011 "Throw Me Something, Mister": The History of Carnival Throws in New Orleans Lissa Capo University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Capo, Lissa, ""Throw Me Something, Mister": The History of Carnival Throws in New Orleans" (2011). University of New Orleans Theses and Dissertations. 1294. https://scholarworks.uno.edu/td/1294 This Thesis 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 Thesis 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 Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Throw Me Something, Mister”: The History of Carnival Throws in New Orleans A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History Public History by Lissa Capo B.A. Louisiana State University, 2006 May 2011 i Dedication This work is dedicated to my parents, William and Leslie Capo, who have supported me through the years. -
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. -
Gayneworleans.COM • Southerndecadence.COM • Gayeasterparade.COM • Jan
GayNewOrleans.COM • SouthernDecadence.COM • GayEasterParade.COM • Jan. 30-Feb. 12, 2007 • AmbushMag.COM • MAIN~1 of 56 MAIN~2 of 56 • AmbushMag.COM • Jan. 30-Feb. 12, 2007 • The One & Only Official Gay Mardi Gras Guide • GayMardiGras.COM GayNewOrleans.COM • SouthernDecadence.COM • GayEasterParade.COM • Jan. 30-Feb. 12, 2007 • AmbushMag.COM • MAIN~3 of 56 local brass band talent is one of the few Krewe du Vieux traditions not currently the "official" dish being gutted, demolished, called into special session or waiting on a Road to Gulf South Entertainment/Travel Guide Since by Rip & Marsha Naquin-Delain Nowhere application. 1982 • Texas-Florida RipandMarsha.COM The Krewe du Vieux is a non-profit organization dedicated to the historical OFFICE/SHIPPING ADDRESS: E-mail: [email protected] 828-A Bourbon St., New Orleans, LA 70116-3137 and traditional concept of a Mardi Gras USA parade as a venue for individual creative Warden Chris Rose expression and satirical comment. It is OFFICE HOURS: 10am-3pm unique among all Mardi Gras parades Monday-Friday [Except Holidays] To Lead Inmates’ Escape because it alone carries on the old Carni- E-mail: [email protected] Parade, Krewe du Vieux val traditions, by using decorated, hand or PHONE: 1.504.522.8049 • 1.504.522.8047 mule-drawn floats with satirical themes, 2007 on Feb. 3 ANNUAL READERSHIP: accompanied by costumed revelers danc- Has there ever been a crazier 650,000+ in print/3.5 Million+ On-line ing to the sounds of jazzy street musi- year? In Washington, the Repub- cians. We believe in exposing the world to NATIONAL CIRCULATION: licans turned a few pages – and " the true nature of Mardi Gras — and in USA.. -
Mardi Gras Parades 2014
Mardi Gras Parades 2014 Date Parade Time Area 2/15/2014 Krewe of Jupiter 6:30 PM Baton Rouge 2/21/2014 Krewe of Artemis 7:00 PM Baton Rouge 2/22/2014 Krewe of Mystique 2:00 PM Baton Rouge 2/22/2014 Krewe of Orion 6:30 PM Baton Rouge 2/28/2014 Southdowns 7:00 PM Baton Rouge 3/1/2014 Spanish Town Noon Baton Rouge 2/16/2014 Krewe of Des Petite 1:00 PM Bayou Lafourche 2/22/2014 Le Krewe Des T- Cajun noon Bayou Lafourche 2/22/2014 Krewe of Ambrosia 5:30 PM Bayou Lafourche 2/23/2014 Krewe of Shaka 1:00 PM Bayou Lafourche 2/23/2014 Krewe of Versailles Noon Bayou Lafourche 2/28/2014 Krewe of Athena 7:00 PM Bayou Lafourche 3/1/2014 Krewe of Altantis noon Bayou Lafourche 3/1/2014 Krewe of Apollo Noon Bayou Lafourche 3/1/2014 Krewe of Babylon 6:00 PM Bayou Lafourche 3/1/2014 Le Krewe Du Bon Temps 5:50 PM Bayou Lafourche 3/2/2014 Krewe of Nereids 6:00 PM Bayou Lafourche 2/22/2014 Knights of Nemesis 1:00 PM Chalmette 2/22/2014 Krewe of Olympia 6:00 PM Covington 2/28/2014 Krewe of Lyra 7:00 PM Covington 2/15/2014 Krewe du Vieux 6:30 PM French Quarter 2/15/2014 Krewe Delusion du Vieux French Quarter 2/21/2014 Krewe of Cork 3:00 PM French Quarter 2/23/2014 Krewe of Barkus 2:00 PM French Quarter 2/22/2014 Krewe of Tee Caillou 12:00 PM Houma/Terrebonne 2/22/2014 Krewe of Aquarius 6:30 PM Houma/Terrebonne 2/23/2014 Krewe of Hyacinthians 12:30 PM Houma/Terrebonne 2/23/2014 Krewe of Titans Hyacin Houma/Terrebonne 2/28/2014 Krewe of Aphrodite 6:30 PM Houma/Terrebonne 3/1/2014 Krewe of Mardi Gras 6:30 PM Houma/Terrebonne 3/2/2014 Krewe of Terreanians 12:30 -
Kruisin' Da Krewes
Alternative Mardi Gras Kruisin’ da Krewes Vol. II, issue 2 1 Dave Malone from The Radiators Photo / Pat Jolly 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 2 3 Photo Michael P. Smith In This Issue... Beat Street takes a look at Carnival from an alternative perspective. Broderick Webb explores the East-West connections. David Kunian investigates the origins of some of the most fascinating “underground” krewes. Spike Perkins gets up close and personal with the Krewe Du Vieux. -
Carnival Fêtes and Feasts 1
Carnival Fêtes and Feasts 1. Rex, King of Carnival, Monarch of Merriment - Rex’s float carries the King of Carnival and his pages through the streets of New Orleans each Mardi Gras. In the early years of the New Orleans Carnival Rex’s float was redesigned each year. The current King’s float, one of Carnival’s most iconic images, has been in use for over fifty years. 2. His Majesty’s Bandwagon - From this traditional permanent float one of the Royal Bands provides lively music for Rex and for those who greet him on the parade route. One of those songs will surely be the Rex anthem: “If Ever I Cease to Love,” which has been played in every Rex parade since 1872. 3. The King’s Jesters - Even the Monarch of Merriment needs jesters in his court. Rex’s jesters dress in the traditional colors of Mardi Gras – purple, green and gold. The papier mache’ figures on the Jester float are some of the oldest in the Rex parade, and were sculpted by artists in Viareggio, Italy, a city with its own rich Carnival tradition. 4. The Boeuf Gras - The Boeuf Gras (“the fat ox”) represents one of the oldest traditions and images of Mardi Gras, symbolizing the great feast on the day before Lent begins. In the early years of the New Orleans Carnival a live Boeuf Gras, decorated with garlands, had an honored place near the front of the Rex Parade. 5. The Butterfly King - Since the earliest days of Carnival, butterflies have been popular symbolic design elements, their brief and colorful life a metaphor for the ephemeral magic of Mardi Gras itself. -
Ceremonial Textiles of the Mardi Gras Indians
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1996 Ceremonial Textiles of the Mardi Gras Indians Ann Dupont The University of Texas at Austin Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Dupont, Ann, "Ceremonial Textiles of the Mardi Gras Indians" (1996). Textile Society of America Symposium Proceedings. 845. https://digitalcommons.unl.edu/tsaconf/845 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Ceremonial Textiles of the Mardi Gras Indians Dr. Ann M. DuPont Specialist, Textiles & Apparel The University of Texas at Austin Austin, Texas 78712 The appliqued, beaded, and pieced textile sections or "patches" that are combined to form the ceremonial costumes of the Mardi Gras Indians of New Orleans, Louisiana are widely considered to be one of the best examples of African-American folk: art in North America. Created in secret by black male gang members, these works of indigenous art are rarely seen outside the culturally isolated black neighborhoods. The black Indian masking tradition sprang from a myriad of African-American heritage and nineteenth century experience in creole Louisiana The ritualistic combination of dance, music, chanting, and use of ceremonial textiles is still relatively mysterious to the white community. The purpose of this study was to interview masking members of the leading Mardi Gras Indian organizations. -
Mardi Gras Algiers Point-Canal Street Ferry Services Fares W
Paris R d . Hayne Morrison 60 CurranShorewood 60 Expedition Vincent 62 63 Paris R 63 d Paris R . 62 Michoud Hayne d Morrison d 60 WalesBullard . CurranShorewood 60 Expedition 63 94 Vincent 62 62 63 60 North I - 10 Service Roa Read Alcee Fortier 63 65 Paris R 63 62 Michoud 65 Cannes Wright 65 63 Morrison62 60 65 d Saigon d 60 d WalesBullard . y Read Dwyer ake Forest 94 Crowder L 63 65 62 Lake Pontchartrain Csw Wright Lakefront 65 60 North I - 10 Service Roa 63 North I - 10 Service Roa 63 Airport Read 60 62 94 Alcee Fortier Pompano 60 64 Bullard 65 63 64 65 . Cannes d Wright 63 65 63 Morrison62 60Saturn 65 d Saigon Wales 60 Lake Pontchartrain US Naval Reserve New Castle 65 Joe Yenni y Lakeshore Dr. Morrison Joe Brown Dwyer Training Center Hayne Read Dwyer Alabama Park Michoud Lake Forest Crowder Old Gentilly R 60 Dwyer W. Loyola W. 64 65 Lake Pontchartrain Csw 63 Wright Lakeshore Dr. Downman . 63 Lakefront 65 62 d Elm Airport 63 North I - 10 Service Roa 63 60 60 62 E. Loyola E. 94 Tilford Prentiss Pompano 60 64 Bullard 57 Dwyer Alumni Dr. 64 . SUNO Lake Forest Blv Michoud Facility 63 d University of Saturn Lakeshore Dr. Leon C. SimonFranklin New Orleans East New Orleans Pontchartrain Bundy Wales 80 Lake Pontchartrain US Naval Reserve New Castle 65 Gawain Joe Yenni Press D Lakeshore Dr. Joe Brown Vintage Park 65 Training Center Hayne Morrison Dwyer 64 Alabama Michoud 63 Grant Park Loyola Williams St. -
Carnival and the Law in New Orleans Author(S): Joseph Roach Source: TDR (1988-), Vol
Carnival and the Law in New Orleans Author(s): Joseph Roach Source: TDR (1988-), Vol. 37, No. 3 (Autumn, 1993), pp. 42-75 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1146310 Accessed: 16-05-2018 14:24 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to TDR (1988-) This content downloaded from 129.81.226.78 on Wed, 16 May 2018 14:24:36 UTC All use subject to http://about.jstor.org/terms Carnival and the Law in New Orleans Joseph Roach There are enemies of this Carnival; not those chill-hearted, shrivel-skins who frown on it as a device of the devil; not the clergy, nor any overt opposition. It is the innovators who are to be feared, they do not understand the carnival spirit, and seek to have it new. -Henry Rightor (900oo:629) Festivals are a way of bringing about change. People are allowed to say not only what they voice in ordinary life but what is going on within their minds, their inner grief, their inner resentments. They carry peace. -
Mardi Gras Indian Performance and Cultural Mediation Jaime Kight
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 "We Won't Bow down: " Mardi Gras Indian Performance and Cultural Mediation Jaime Kight Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE “WE WON’T BOW DOWN:” MARDI GRAS INDIAN PERFORMANCE AND CULTURAL MEDIATION By JAIME KIGHT A Thesis submitted to the School of Dance in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2011 Jaime Kight defended this thesis on March 29, 2011. The members of the supervisory committee were: Tricia Young Professor Directing Thesis Sally Sommer Committee Member Douglass Corbin Committee Member Jennifer Atkins Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii I dedicate this to Liz Saluke who encouraged, supported, brainstormed, listened, and who acted silly with me throughout this process. iii ACKNOWLEDGEMENTS I would like to acknowledge a few key people who made this Masters Thesis possible. I want to firstly thank Doug Corbin for serving as a member of my Thesis Committee. Also, thank you Dr. Sally Sommer for your reassuring and inspiring pep talk when I needed it most and for your thorough round of copy-edits. To Dr. Jennifer Atkins, thank you for introducing me to the world of dance history in my undergraduate years and for fueling my initial interest in these imaginative people. -
Wavelength Midlo Center for New Orleans Studies
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1981 Wavelength (February 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1981) 4 https://scholarworks.uno.edu/wavelength/4 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]. EW ORLEANS MUSIC MAGAZINE FEBRUARY 1 981 VOLUME 1 NUMBER 4 STYX PARADISE THEATRE A true adventure in Paradise . The new studio album from the premier American rock 'n roll band ... See them on tour and hear ... "Paradise Theatre" ... Includes the single " The Best Of s 5.99 Times." On A&M Records and Tapes $4 .99 $5 .99 COIDCTIOIAllou IUAM I I IIH 1\ 3331 St. Charles Ave. 1 037 Broadway ·~ 891-4213 866-6065 February 1 981 Volume 1 Number 4 Features Mardi Gras Indians _____________6 Gatemouth Brown 14 Exuma 17 Departments February ______________________4 Puzzle 2 Rhythm & Blues 3 Rare Records 4 Rock 5 Country 7 Jazz 9 Reviews 6 Deco Last Page 8 New Wave Cover Photo by Josephine Sacabo Publisher, Patrick Berry. Editor, Connie Atkinson. Contract Adnn.isin g Sales, Kathleen Bishop, Steve Gifford. Contributing Ar· Avant Garde lists. Skip Bolen. Julia Nead. Kathleen Perry. C irculation, Laverne Kelly. Contributors. Carlos Boll, Jerry Brock, Bill Cat, Yorke Corbin. Ron Cuccia, Steve Cunningham, Zeke Fishhead, Steve Graves, Gilben Hetherwick, Coril Joseph, Andy Kaslow, Tim Lyman, Bunny Matthews, Hammond Scott, Jim Scheurich, Almost Slim, Rhodes Spedale, Keith Twitchell. -
Mardi Gras Memories
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Mardi Gras Memories Everyone has his own unique Mardi Gras memories. For some of us, it may be an “over the top” costume - or perhaps a “missing the top” costume. It may be that moment in time when special friends or family all came together to celebrate in a meaningful way. Or for others, it was that memorable romantic encounter – when you met that special someone for the first time on a French Quarter balcony. Many of these memories are captured in an old photograph, such as the time I was costumed all in black as Zorro and captured on film amidst a sea of saffron Hare Krishna robes. Others magic moments, no matter how zany, reside only in our minds. Mardi Gras 1967 (early that year on February 7th) was quite a Carnival for me, considering how cold it was. The headline in the Advocate proclaimed “Zut Alors! Polar Bear Suits Yet”. The Times- Picayune predicted a “biting cold Mardi Gras” with temperatures in the 30s for most of the day. What‟s more, there were to be “northerly winds at 20 to 30 miles per hour,” and maskers planning “to wear skimpy costumes” were advised to “steel themselves for a chilly time.” Times-Picayune Weather Frog, Mardi Gras, February 7, 1967 When I reached the Vieux Carré, I realized I was not dressed quite warmly enough. I had forgotten gloves to warm my hands, and the weather was indeed icy. Stopping into a corner French Quarter drugstore, I inquired if gloves were available.