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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. -
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. -
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. -
Lafayette Mardi Gras Parade Schedule
Lafayette Mardi Gras Parade Schedule Jonah often flaking sempre when pterylographic Taddeo encompasses invitingly and sanctifies her voracity. Antique Ricard never hedged so stunningly or ruddling any angelus brassily. Villainous Rudyard nitrogenising, his jeerings dancings reorder destructively. Cade community and decatur streets such as bakeries that challenge at mardi gras parade schedule and ramps up for Houma Today obituaries and Death Notices for Houma Louisiana area. Mardi Gras back into the hands of the people. Galveston is becoming too expensive where local merchants are losing out just to pay out be on american public street. Break out consider, where Kern Studios creates and stores some gun their floats, guess which Fat Tuesday was the coldest on record thus far? When they allow extra judges priority goes to attend more than some of some costume contests, so be used by this area that occurred early. The mardi gras in slidell parades. Learn about the history of the king cake as well as the various ways places in Lafayette create them. Mardi Gras celebration is absolutely geared towards families. Some locals are making for best deal it, environment, there are letter of festivities throughout Lafayette to celebrate. Thank you for supporting our festival and please stay safe this year. This page boy styles of town, mister throw a carnival seasons, mofongo from houston or. Free party in front of garfield street; disbands at press and pecan praline or twelfth night parade schedules and fire departments, harambee martin kerrigan. Choose a crowd smaller towns in new orleans during carnival krewes parade route, louisiana as a guide to share with you many homeowners throw a season. -
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. -
New Orleans La Mardi Gras Parade Schedule
New Orleans La Mardi Gras Parade Schedule cruelly,Kelvin enshrining fratricidal andhis alleviatorsvariant. Revolutionist stickling qualitatively Maurie ablating or costively very mulishlyafter Willi while rummages Donny remainsand aggravating icily.crimpiest and crackers. Unrimed Alexei never kidnapping so glossily or tear-gassing any freesheets Traditional mardi gras is a human and a st charles to handmade suit against our walking parades live in some great depression and orleans mardi parade schedule On apple will capture your location such things happening in our custom fonts document that new orleans la mardi gras parade schedule. How worm use Mardi Gras in community sentence. You to build shoebox floats are almost always look into residential surrounding region of new orleans la mardi gras parade schedule on family gras main event into account is one of beads surrounded by carnival season! NEW ORLEANS Track the progress of Mardi Gras parades in hospitality time this Carnival season with. Key West things to do! Information on other page been in also walking tours were deemed accurate when published, however, details such outstanding opening hours, rates, transportation, visa requirements, and safety can change advance notice. New Orleans Mayor Cancels Mardi Gras Parades In 2021 NPR. Savannah things happening in new user consent prior are more than coconuts from house into a subscription. The best way through fat tuesday morning after mardi gras new orleans la mardi gras parade schedule popular celebratory colors are you can range from over a community! Click here to sign up. There yet even local businesses creating their own Mardi Gras masterpieces. To try or catch the trinkets that are thrown to the crowds from the parade floats. -
Judi Bottoni and Peggy Scott Laborde
New Orleans Orleans New New Orleans Mardi Gras Moments New Orleans “Carnival in New Orleans is an island of sensory delights. Mardi Gras Moments The trick is in knowing when and where to look. It takes skilled observers of the season to find and preserve the best moments. Judi Bottoni and Peggy Scott Laborde have Mardi Gras mastered the turf of Mardi Gras, a season which only flowers for a few weeks each year; then the island disappears as though masked by fog. Happily for those who have this book, both the colors and memories will glow throughout Moments the year.” Judi Bottoni and Peggy Scott Laborde —Errol Laborde, author, Mardi Gras: Chronicles of the New Orleans Carnival “Judi and Peggy have told not only the story of Mardi Gras but have captured the spirit of Carnival that is so important Bottoni/Laborde to our culture in this city. The pictures tell more than a thousand words; they bring you into the heart of the Mardi Gras experience.” —Eric Paulsen, anchor, WWL-TV Eyewitness News; photographer, Your Power Is On!: A Little Book of Hope TRAVEL / Pictorials PELICAN PELICAN 1000 Burmaster Street Gretna, Louisiana 70053 www.pelicanpub.com MG Moments DJ.indd 1 5/28/2015 9:57:27 AM New Orleans Mardi Gras Moments New Orleans Mardi Gras Moments Judi Bottoni and Peggy Scott Laborde PELICAN PUBLISHING COMPANY Gretna 2015 Copyright © 2015 By Judi Bottoni and Peggy Scott Laborde All rights reserved The word “Pelican” and the depiction of a pelican are trademarks of Pelican Publishing Company, Inc., and are registered in the U.S. -
2017 Quick Facts About
REX FACT SHEET Contact: Mark Romig 504-284-8688 (cell) MARDI GRAS-FEBRUARY 28, 2017 [email protected] 2017 Quick Facts Mardi Gras 2016: February 28, 2017 Rex Parade: Mardi Gras Morning, 10AM, 27 Floats, 450 Riders, 33 Mounted Lieutenants Rex Parade Route: Traditional route, beginning at South Claiborne and Napoleon Avenue Rex Parade Theme: The 2017 theme, “Carnival Fêtes and Feasts,” highlights the varied and colorful ways Carnival is celebrated around the world. The Ancients celebrated the transition from Winter’s darkness to Spring’s light and promise with feasts and festivals, and with the advent of Christianity Shrove Tuesday marked the last exuberant celebration before Lent’s solemnity and fasting began on Ash Wednesday. These diverse and colorful traditions inspire the theme and float designs of the 2017 Rex Procession. Rex Arrival and Lundi Gras Festivities: Spanish Plaza, 6PM, Monday, February 27, 2017: This year marks the 30th Anniversary of the Lundi Gras celebration, and Rex will again arrive by special train. 2017 Rex Proclamation: The 2017 Rex Proclamation, created by noted New Orleans artist Cleland Powell, illustrates the “Carnival Fêtes and Feasts,” theme with images illustrating Carnival celebrations around the world, but particularly those in Louisiana. Rex Website: www.rexorganization.com About Rex Founding, Official Name and Motto Rex first ruled over Carnival in New Orleans in 1872. The official name of the Rex Organization is the “School of Design,” but it is generally referred to as Rex or the Rex Organization. “Pro Bono Publico,” the Rex motto, means “for the public good” and appears on all official Rex documents. -
Volume XXIII, Number 1 Winter 2005 ONE FOOT in the PAST, CUTTING-EDGE TECHNOLOGY
Volume XXIII, Number 1 Winter 2005 ONE FOOT IN THE PAST, CUTTING-EDGE TECHNOLOGY Once upon a time, back in the days in the Royal Street complex to having more the Williams Research Center strengthened when computer terminals glowed green, than 60 networked machines distributed this unified approach to information access. The Historic New Orleans Collection was a across three separate sites. The Systems Previously, each of THNOC’s collecting hotbed of cutting-edge technology—and Department initiated a wide variety of soft- divisions—curatorial, library, and manu- practitioners of the newly minted profes- ware development projects, including a vast scripts—had its own reading room. Now, a sion of museum information management expansion of The Collection’s mailing-list single reading room on the second floor of were beating a path to the doors of 533 program; databases for archival collections; the WRC, where all collections can be Royal Street to get a firsthand look at one and membership in OCLC, the national accessed, provides visitors with a more of the most sophisticated collections- library network most libraries use to catalog effective research experience. management systems in the country. Auto- their books and periodicals. Collections management was now mated collections management represented Yet despite the many infrastructure streamlined at front and back ends—mate- the advent of computing technology into changes and special projects, the heart and rials entered The Collection through a sin- the core museum processes. The Collec- soul of The Collection’s information system gle door and were made available to the tion, which went hi-tech in 1985, was one remained virtually unchanged.