Lafayette Mardi Gras Parade Schedule
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Wavelength (February 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 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]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido scope of the gaud y, raucous, erotic and exotic Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost. -
Presidential Address PVSS 2008
Presidential Address PVSS 2008 W. Charles Sternbergh, III, MD Section Head Vascular and Endovascular Surgery Ochsner Health System New Orleans MCV, 1988 - 1995 H.M. Lee Emory 1995-1996 Elliot Alan Chaikoff Lumsden Bob Tom Atef Salam Smith Dodson Ochsner (Jazzfest 1999) Sam Money Carnival From the latin “carnelevamen” Translation: “Farewell to flesh” th Officially begins on January 6 • Twelfth Night (Feast of the Epiphany) Ends on Midnight, Fat Tuesday (Mardi Gras) Most locals refer to the 2 week season immediately prior to Mardi Gras as carnival Mardi Gras (Fat Tuesday) Last day of this pre- Lenten celebration known as “carnival” Originally created by the Catholic Church for “the masses” to celebrate prior to Lent Next day is Ash Wednesday • Beginning 40 days of Lent prior to Easter When is Mardi Gras ? 47 days prior to Easter • (40 days of Lent + 7 Sundays) Always on Tuesday rd February 3 – March 9th Carnival Organizations: “Krewes” All private organizations No external funding allowed Most Krewes have a parade Riders on the floats mostly members Each member pays for his own “throws” (beads, stuffed animals, etc) • ~$ 500 – $ 2000 per person • 53 parades, 150-1500 riders per parade Krewes Most Krewes have a King and Queen • Selection process varies Some Krewes have a ball • Many connected with debutane presentation and formal tableaux Invitation only, very formal • Other with HUGE parties More fun ! Tickets can be purchased Many (but not all) Krewes parade Carnival History in New Orleans “old-line” Krewes (all male) -
Playing the Big Easy: a History of New Orleans in Film and Television
PLAYING THE BIG EASY: A HISTORY OF NEW ORLEANS IN FILM AND TELEVISION Robert Gordon Joseph 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 2018 Committee: Cynthia Baron, Advisor Marlise Lonn Graduate Faculty Representative Clayton Rosati Andrew Schocket © 2018 Robert Joseph All Rights Reserved iii ABSTRACT Cynthia Baron, Advisor Existing cultural studies scholarship on New Orleans explores the city’s exceptional popular identity, often focusing on the origins of that exceptionality in literature and the city’s twentieth century tourism campaigns. This perceived exceptionality, though originating from literary sources, was perpetuated and popularized in the twentieth and twenty-first centuries by film and television representations. As Hollywood’s production standards evolved throughout the twentieth century, New Orleans’ representation evolved with it. In each filmmaking era, representations of New Orleans reflected not only the production realities of that era, but also the political and cultural debates surrounding the city. In the past two decades, as the aftermath of Hurricane Katrina and the passage of film tax credits by the Louisiana Legislature increased New Orleans’ profile, these debates have been more present and driven by New Orleans’ filmed representations. Using the theoretical framework of Guy Debord’s spectacle and the methodology of New Film History and close “to the background” textual analysis, this study undertakes an historical overview of New Orleans’ representation in film and television. This history starts in the era of Classical Hollywood (1928-1947) and continues through Transitional Hollywood (1948-1966), New Hollywood (1967-1975), and the current Age of the Blockbuster (1975-). -
University of California UNIVERSITY of CALIFORNIA
UCLA UCLA Electronic Theses and Dissertations Title Space, Place, and Music in New Orleans Permalink https://escholarship.org/uc/item/4q71f2ws Author Raimondi, Julie Michelle Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Space, Place, and Music in New Orleans A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology By Julie Michelle Raimondi 2012 © Copyright by Julie Michelle Raimondi 2012 ABSTRACT OF THE DISSERTATION Space, Place, and Music in New Orleans By Julie Michelle Raimondi Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2012 Professor Anthony Seeger, Chair This dissertation explores ways in which many people in New Orleans use, experience, form emotional attachments to, and make sense of space through music. It analyzes how music intersects with geography and how the musical experiences of New Orleanians bring meaning to the built form. It examines the role of the agent in the social construction of space, and how people use music as a spatial enabler in New Orleans. It proposes that music enables people to socially construct space because it accesses the nexus of memory and emotion, operates in a greater cultural context, and is a useful tool for variable expression. In order to present varied experiences with the musical construction of space, this dissertation approaches its subject through four case studies: place attachment through the “second line” parading tradition and North Claiborne Avenue, the fixing of memories in space at the Ernie K-Doe Mother-in-Law Lounge, the negotiation of public space through musical performances in various contexts, and the creation and growth of a music community in the New Orleans Habitat Musicians’ Village. -
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. -
Music Lessons As Life Lessons in New Orleans Marching Bands
Souls A Critical Journal of Black Politics, Culture, and Society ISSN: 1099-9949 (Print) 1548-3843 (Online) Journal homepage: http://www.tandfonline.com/loi/usou20 Music Lessons as Life Lessons in New Orleans Marching Bands Matt Sakakeeny To cite this article: Matt Sakakeeny (2015) Music Lessons as Life Lessons in New Orleans Marching Bands, Souls, 17:3-4, 279-302 To link to this article: http://dx.doi.org/10.1080/10999949.2015.1127106 Published online: 13 Apr 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=usou20 Download by: [Tulane University] Date: 13 April 2016, At: 08:24 Souls Vol. 17, Nos. 3--4, July–December 2015, pp. 279–302 EDUCATION IN NEW ORLEANS: A DECADE AFTER HURRICANE KATRINA Music Lessons as Life Lessons in New Orleans Marching Bands Matt Sakakeeny In New Orleans, musicians in school marching bands are more popular than athletes, and spectators marvel at the choreography and musicianship on display in Mardi Gras parades and sporting events. Lessons imparted in the bandroom not only prepare a select few with the tools to pursue a career in music, they offer all students “culturally sustaining pedagogies” unavailable in core curriculum classes. But in prioritizing high-stakes testing, racialized “career readiness” schools have relegated arts education further to the periphery, denying young people an opportunity to socialize themselves as black subjects in ways that they find meaningful and valuable. Keywords: blackness, charter schools, culturally sustaining pedagogies, marching band, music, New Orleans Downloaded by [Tulane University] at 08:24 13 April 2016 Dinerral Jevone Shavers had wanted to be a marching band director ever since he first played in band at Martin Luther King Elementary, in the Lower Ninth Ward neigh- borhood where his mother Yolande Adams owned a home and raised Dinerral and his three sisters. -
LLMVC EPHEMERA COLLECTION Inventory
LLMVC EPHEMERA COLLECTION Inventory Compiled by Hans Rasmussen Louisiana and Lower Mississippi Valley Collections Special Collections, Hill Memorial Library Louisiana State University Libraries Louisiana State University, Baton Rouge, La. 2011 Latest revision, October 2020 LLMVC EPHEMERA COLLECTION SPECIAL COLLECTIONS, LSU LIBRARIES CONTENTS OF INVENTORY SUMMARY ........................................................................................................................ 3 SCOPE AND CONTENT NOTE ....................................................................................... 4 LIST OF SUBGROUPS ..................................................................................................... 4 SUBGROUP DESCRIPTIONS .......................................................................................... 5 INDEX TERMS .................................................................................................................. 7 CONTAINER LIST .......................................................................................................... 10 Use of materials. If you wish to examine items in the ephemera collection, please place a request via the Special Collections Request System. Consult the Container List for location information. Publication. Readers assume full responsibility for compliance with laws regarding copyright, literary property rights, and libel. Proper acknowledgement of LLMVC materials must be made in any resulting writing or publications. The correct form of citation for this manuscript -
Jazz Religion, the Second Line, and Black New Orleans
African American Turner “Turner straddles religions, music, the “A well-written, Jazz Religion, performance arts, languages, nationalities, well-researched, Jazz Religion and identities skillfully . with aplomb, with thoughtful, and the Second Line, brio, in a language all his own that sings.” generative book.” Patrick Bellegarde-Smith, George Lipsitz, and Black New Orleans University of Wisconsin, Milwaukee University of California, Richard Brent Turner Santa Barbara This book explores the history and contemporary Richard Brent Turner significance of the popular religious traditions, identi- is Professor of Religious ties, and performance forms celebrated in the second Studies and African lines of the jazz street parades of black New Orleans. American Studies at the The second line is the group of dancers who follow University of Iowa and the first procession of church and club members, brass author of Islam in the bands, and grand marshals. Here musical and reli- African-American Experi- gious traditions interplay. Jazz Religion, the Second ence (Indiana University Line, and Black New Orleans examines the relation- Press, 2nd ed., 2003). In the ship of jazz to indigenous religion and spirituality. It late 1990s, Turner lived in explores how the African diasporist religious identi- New Orleans while teach- ties and musical traditions—from Haiti and West and ing at Xavier University. Central Africa—are reinterpreted in New Orleans jazz and popular religious performances, while describ- ing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance. $21.95 Cover illustration: Funeral INDIANA procession, New Orleans. Courtesy University Press the Ralston Crawford Collection I Bloomington & Indianapolis of Jazz Photography, Hogan Jazz ndiana www.iupress.indiana.edu Archive, Tulane University. -
The Diversity O Mardi Gras
PD sr 3/6 /73 The Diversity o Mardi Gras By Sally Quinn NEW ORLEANS—Traditionally the Sunday before Mardi Gras (Fat Tuesday) is a free day, time to rest up from the preceding months of party- ing, time to prepare for the climatic celebration today. But there was nothing for the tour- ists, out-of-towners, newcomers and so- cially not-so-aeceptables to do on Sun- day. So Owen "Pip". Brennan Jr., en- terprising owner of Brennan's Restau- rant, decided to "package" Mardi Gras for the outside world to bring even more recognition to his hometown. Not to mention himself. The first thing he did after forming the "Krewe of Bacchus" was to get on the phone and find a celebrity. The first year, 1969, he found Danny Kaye; in 1970 it was Raymond Burr, in 1971 Jim Nabors, in 1972 Phil Harris and this year he snared the king of kings, Bob Hope. The Olympia Brass Band marches back into the ballroom of the "We thought about asking President Marriott Hotel early Sunday morning during the Zulu Ball. Nixon," said Brennan, "but he's only 75 per cent popular with the people and Bob is 100 per cent popular." to the men's room by two plume-hel- Hope's request, former New Orleans Hope, who had never been to Mardi meted dukes of his court. "We couldn't Saint and current Redskin Billy Kil- Gras,, was thrilled. So thrilled he get my costume off and we finally had mer, Pete Fountain, New Orleans May- brought NBC with him to do an hour to tear it off," said Hope. -
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. -
Wild Tchoupitoulas”—The Wild Tchoupitoulas (1976) Added to the National Registry: 2012 Essay by Bryan Wagner (Guest Post)*
“The Wild Tchoupitoulas”—The Wild Tchoupitoulas (1976) Added to the National Registry: 2012 Essay by Bryan Wagner (guest post)* Original album cover “The Wild Tchoupitoulas” is a definitive expression of the New Orleans sound. From “Brother John” to “Hey Hey (Indians Comin’),” the album draws on carnival traditions stretching back centuries, adapting songs from the Mardi Gras Indians. Music performed in the streets and in neighborhood bars with tambourines and makeshift percussion is transformed on the album into electric rhythm and blues accented by funk, reggae, and calypso. The album bridges not only genres but generations, linking the improvised flow from group leader George Landry, better known as Big Chief Jolly, to the four-part harmony vocals provided by his nephews Art, Charles, Aaron, and Cyril—the core members of the soon-to-be-formed Neville Brothers, playing together here for the first time. With support from the Meters, the city’s preeminent funk ensemble, “The Wild Tchoupitoulas” brings an all-star brigade, pressing these old chants into new arrangements that have since become carnival standards. In the process, the album helped to set the terms by which processional second-line music in New Orleans would be commercialized through the record industry and the tourist trade, setting into motion an ongoing process in the city that has raised more questions than it has answered about creativity, autonomy, authenticity, and appropriation under the conditions of a new cultural economy. Founded in 1974 by George Landry, henceforth Big Chief Jolly, during a long night with some friends at the Patio Bar, an uptown club by the riverfront, the Wild Tchoupitoulas tribe remains active to this day. -
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.