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handeaux · 1 year

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Cincinnati Bootblacks Organized To Fight Free Shine Services By Local Merchants

The opening of a new shoe store in 1895 caught the attention of Cincinnati’s bootblacks, and they weren’t happy at all.

The Smith, Kasson & Co. store on the north side of Fifth Street, just east of Race, promised high quality footwear at prices affordable to the masses. George Smith, Henry Kasson and their partners indulged their customers with luxurious extras. An orchestra performed amid veritable gardens of potted plants. The décor was all of brass setting off maroon leather. An X-ray device assured a precise fit. The store offered, whether you were a customer or not, to shine your shoes for free. There was the rub.

Outside on the streets, dozens of bootblacks braved the entire panoply of Cincinnati weather to shine shoes for a dime, rarely pulling in a dollar a day. Some of the city’s “shine artists” occupied a stand in a barber shop or shine salon, but they were few and charged more.

To aggravate the situation, companies that manufactured shoe polish didn’t distribute through general stores. Shoe polish was sold only at shoe stores, forcing bootblacks to buy their supplies from the very establishments taking away their livelihood by offering free shines.

Christmas season in 1897 found Cincinnati’s shoeshine “boys” (most were grown men) on starvation rations as more and more businesses – not only shoe stores, but department stores as well – offered free shines. By January 1898, the bootblacks reached the boiling point. The raggle-taggle group announced a meeting and invited Mayor Gustav Tafel to attend. According to the Cincinnati Post, Mayor Tafel was sympathetic to the cause:

“The mayor has not patronized stores at which free shines were given, and either does the work himself or pays for having his boots polished. He favors the antifree-shine movement on behalf of the bootblacks.”

The Post, sensing an issue on which to build its reputation as the city’s progressive newspaper, provided extensive coverage of the dispute. In an editorial [1 February 1898] the newspaper announced its support:

“Everybody is talking about the bootblacks! Manly determination is always admirable. The assertion of the bootblacks that “Free shines is got to go!” carries with it the assumption of good argument. Give the bootblacks a fair hearing.”

Post reporters gathered quotes of support from prominent men, such as city councilman John Wahburn:

“A man does not expect free shoes. Why should he expect free shines? Let us all pay for both.”

The Post also collected endorsements from some of the city’s less-respectable celebrities, including Dan Bauer, who owned the notorious Majestic Concert Hall that the Post would rail against a few years later:

“Give the bootblacks what is due them. They are entitled to the business.”

The Post also collected letters from bootblacks outlining their grievances. Some were printed with grammatical and spelling mistakes patronizingly preserved. One correspondent, William H. Schmidt, stated the case eloquently:

“Some people are inclined to think the bootblacks are a band of mongrels, uneducated and indifferent to circumstances. I want to say to these people that there are scores of us who are really worthy of better employment. We can’t get it, and accordingly make the best of our lot.”

On Tuesday morning, the first of February, the city’s bootblacks gathered at the College Hall on Walnut Street to discuss strategy. Temporary chair of the meeting was Harry Lemmon, who was not a bootblack at all, but an inspector at the Customs House. Lemmon introduced a motion to select a permanent chair when a disturbance halted the proceedings. According to the Post [1 February 1898]:

“There was some commotion in the hall. The doors burst open and in came 50 more bootblacks. One was playing a harp and others were cheering. It was five minutes before the election was resumed.”

The newcomers were a delegation of shoe-shiners who had rallied around their own celebrity, featherweight boxer Albert “Kid Ashe” Laurey. The Kid was no bootblack, but he was a popular athlete and was soon elected president of the meeting. Laurey, an African American, underlined the multiracial make-up of the bootblack constituency. Though the papers didn’t make much of the inclusive nature of the movement, it was probably the only integrated union in Cincinnati at the time, the other trades maintaining strictly segregated locals.

The lively group soon organized as the Cincinnati Bootblacks Protective Association, and drafted a petition demanding that Cincinnati merchants cease offering free shoeshines by the end of the week. In the back of the room, a man rose and announced that his employer, Mabley & Carew, would stop the practice immediately. Representatives of Rollman & Sons, Potter Shoes, the Foreman Shoe Company and Smith, Kasson & Co. were also present and agreed to end the service as well. In short order, the rest of the city’s merchants fell in line.

The association agreed to charge 10 cents for a shine and to levy dues of 10 cents a week to build up a fund for homeless and hospitalized members. The Cincinnati Post had one of the staff artists design an insignia for the group.

Although victorious in their initial battle, the war went on for years. By Thanksgiving, a few stores again began shining shoes as a complementary service. The Cincinnati Bootblacks Protective Association had gone largely inactive and had to be revived to counter this new threat. The association was revived again in 1901 after a couple years of inactivity, and yet again in 1905.

More disconcerting was a threat from within the bootblack community. A “trust” organized by unaffiliated bootblacks opened a shine parlor and only charged a nickel. The association sent a persuasive delegation to convince them that going out of business was a healthy decision.

#cincinnati bootblack protective association #cincinnati bootblacks #smith kasson comapny #cincinnati labor

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burlveneer-music · 1 year

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My WVUD playlist and stream, 2/25/2023

Delfeayo Marsalis & Uptown Jazz Orchestra - Carnival Time Stooges Brass Band - Good Livin' Rebirth Brass Band - (I Feel Like) Bustin Loose (Live) Preservation Hall Jazz Band - La Malanga Dixie Cups - Iko Iko / Brother John / Saints Go Marching In The Dirty Dozen Brass Band & Robert Randolph - Cissy Strut Phillybloco - All On a Mardi Gras Day Angel Bat Dawid - RECORDARE-Recall the Joy Art Ensemble of Chicago - I Greet You With Open Arms Griots Wa Umoja - Trip To Africa Young Fathers - Ululation Lijadu Sisters - Bayi L'ense 3rd Generation Band - Obiye Saa Wui Verckys et l´Orchestre Vévé - Bassala Hot Witch - Waile Experience Unlimited - Free Yourself Grant Phabao Afrofunk Arkestra - Wonk Cymande - Dove Lakecia Benjamin - Phoenix (feat. Georgia Anne Muldrow)

(listen on Mixcloud)

#wvud #playlist #permutations #mixcloud

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foolishmortal · 1 year

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when you see this, post 5 songs you actually listen to and tag 10 (I only did 5 bc i am tired) awesome people!! I was tagged by @tiffanylamps I play saxophone in a street band. Most of these are street band songs. sorrynotsorry.

Raised By Wolves, Voxtrot This song is my shipping litmus test. And the bass line is chef's kiss. If I listen to this song, and it reminds me of my ship, I know I am gonna ship it hard. It's like feeling of malaise before you get sick. What's the opposite of malaise?

2. Planet Gibbous, Hypnotic Brass Ensemble

3. Cuzcou, Broken Brass

4. Come With Me, Preservation Hall Brass Band

5. Pa Bailar, Bajo Fondo I used to dance a lot before the pandemic shut everything down :(

No-pressure tags: @randomingoftherandomness @themightybento @bananafosters @flarewarrior @crimeandcricket

#tumblr #copypasta

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tempsdesfetesdixieland2023 · 5 months

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Lundi 18 décembre 2023

Tel qu’annoncé, nous avons passé une bonne partie de la journée en voiture. Nous sommes arrivés à la Nouvelle-Orléans aux environs de 16h , après avoir été accueillis par le panneau autoroutier bilingue (photo 2, prise dans la voiture roulant à 100km/h). La journée déjà bien avancée ne nous a pas laissé le temps de faire bien des choses, mais nous avons pu faire un petit tour à pied avant que le soleil ne se couche, notamment en passant tout près de la maison LaBranche (photo 1), et en parcourant la rue Bourbon, qui n’était pas encore bien animée (photo 3).

Nous avons mangé au Gallier’s Restaurant & Oyster Bar, et comme le nom l’indique, nous avons pris les huîtres en entrée (photo 4) : des huîtres sur le grill (charbroiled oysters) et des huîtres Rockefeller (la recette a été inventée ici, au restaurant Antoine’s, il y a plus d’un siècle). Pour se mettre dans l’ambiance locale, Maman et moi avec pris un trio de plats traditionnels cajuns (photo 5), soit du gumbo, un jambalaya, et des haricots rouges (qui ressemblent aux fèves au lard, mais sans le côté sucré). Le tout a été couronné par le dessert qu’on trouve sur tous les menus ici, le pouding au pain (photo 6). Le notre était arosé dune sauce crémeuse dans laquelle on avait pris soin d’ajouter un peu de Bourbon…

Nous avons terminé la soirée au Preservation Hall, lieu mythique qui a pour mission de conserver et diffuser le jazz de la Nouvelle-Orléans. Le prix est assez élevé pour une place assise pour la prestation de 45 minutes, mais la qualité était au rendez-vous et nous avons grandement apprécié le jeu des musiciens (brass band), qui ont offert au concert exceptionnel. On nous demande de ne pas prendre de photos et de vidéos pendant l’événement, les images on donc été prises avant (facade et portail extérieur, photos 7 et 8, scène avec chaises vides, photo 9). Enfin, en guise de prix de consolation pour ceux et celles qui n’étaient pas des nôtres, une brève vidéo d’une prestation de jeunes musiciens captée dans la rue à notre sortie du resto (prenant place de photo 10).

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nonesuchrecords · 3 years

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Happy Mardi Gras! Celebrate with the newly expanded edition of the 2005 benefit album Our New Orleans. The album includes five previously unreleased tracks plus the original performances by Allen Toussaint, Dr. John, Dirty Dozen Brass Band, Preservation Hall Jazz Band, Irma Thomas, Wild Magnolias, Buckwheat Zydeco, Randy Newman, and others. Our New Orleans has thus far raised $1.5 million for New Orleans Area Habitat for Humanity.

#mardi gras #new orleans #our new orleans #allen toussaint #dr. john #dirty dozen brass band #preservation hall jazz band #irma thomas #wild magnolias #buckwheat zydeco #randy newman #nonesuch #nonesuch records #habitat for humanity

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megandoeschallenges · 5 years

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Day 287 || A song you would use in a soundtrack to go with a funeral procession.

I couldn’t think of one specific song that I’d use... but I think everything that New Orleans does for big funerals is 100% ideal and perfect. Gimme that jazz parade.

#365 music #new orleans #preservation hall jazz band #olympia brass band #jazz funeral

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mrrightandmrbubble · 6 years

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pres_hall_ben: “Making music, celebrating life with good friends @foofighters @tromboneshorty @ruffinsbbq @cyrilneville @newbreed_brassband #davegrohl joined #mrcharlie on “Come With Me” and jumped in on drums on @tromboneshorty rendition of “In Bloom”.... “I haven’t played that song in over 20 years....man I needed that!!”. New Orleans Music can lift your burden, raise your spirits and give you strength and joy you didn’t know you had or needed”

#dave grohl #preservation hall jazz band #trombone shorty #charlie gabriel #new breed brass band

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thejoyofviolentmovement · 2 years

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New Video: Preservation Hall Jazz Band's Charlie Gabriel to Release Debut Album As Bandleader, Shares Intimate, Behind-The-Scenes Visual for "I'm Confessin'"

New Video: Preservation Hall Jazz Band's Charlie Gabriel to Release Debut Album As Bandleader, Shares Intimate, Behind-The-Scenes Visual for "I'm Confessin'" @preshallband @subpop @subpoplicity

88 year-old Charlie Gabriel is a New Orleans-born and-based saxophonist, clarinetist and vocalist, who has had an incredibly lengthy music career: Gabriel’s first professional gig was back in 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager, he relocated to Detroit, where he played with Lionel Hampton, whose band at the time included a young Charles Mingus. Gabriel…

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silverplumespectre · 7 years

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Silver Standard, Volume VI, Number 14, June 9, 1888

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cardest · 3 years

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New Orleans playlist

Hungry for some po boys? Feeling the Mardi Gras vibes for this weekend? This is the ultimate NOLA playlist, right here. Play the songs here: https://www.youtube.com/playlist?list=PL-iHPcxymC182dTlE-Gii6ZOO5ZrN1Z1T

Louisiana and New Orleans, all in the one awesome playlist. If there are songs I left out, let me know and I can add those. Or come meet me at Le Bon Temps Roulé and we’ll listen to this NOLA playlist together with drinks.

LOUISIANA & NEW ORLEANS

001 Bob James - Take Me To The Mardi Gras 002 Earl King - Ain’t no city like New Orleans 003 John Lee Hooker - goin’ to Louisiana 004 Crowbar - Wrath Of Time By Judgment 005 True Detective - Theme (The Handsome Family - Far From Any Road) 006 EyeHateGod - New Orleans Is The New Vietnam 007 The The Meters - Chicken Strut 008 Paul McCartney - Live And Let Die (from Live And Let Die) 009 The Rolling Stones - Brown Sugar 010 Lucinda Williams - Crescent City 011 King Hobo - New Or-Sa-Leans 012 Concrete Blonde - Bloodletting 013 Down - Underneath Everything 014 True Blood Theme Song (Jace Everett - Bad Things) 015 Corrosion of Conformity - Broken Man 016 The New Orleans Jazz Vipers - I Hope Your Comin' Back To New Orleans 017 Willy DeVille - Jump City 018 Left Side - Gold In New Orleans 017 Necrophagia - Reborn through Black Mass 018 Johnny Horton - The Battle Of New Orleans 019 Dr John - Litanie des Saints 020 Foo Fighters - In the Clear 021 Redbone - The Witch Queen Of New Orleans 022 Jucifer - Lautrichienne 023 Danzig - It's a long way back from hell 024 Harry Connick, Jr. - Oh, My Nola 025 The Gaturs - Gator Bait 026 Jon Bon Jovi - Queen Of New Orleans 027 Cyril Neville - Gossip 028 Carlos Santana - Black Magic Woman 029 Gentleman June Gardner - It's Gonna Rain 030 Eddy G. Giles - Soul Feeling (Part 1) 031 Tool - Swamp Song 032 Beasts of Bourbon - Psycho 033 Seratones - Gotta Get To Know Ya 034 Chuck Berry - You Never Can Tell 035 Grateful Dead - Mississippi Half-Step Uptown Toodleoo 036 Pale Misery - Hope is a Mistake 037 Exhorder - Homicide 038 King James & the Special Men - Special Man Boogie 039 Chuck Carbo - Can I Be Your Squeeze 040 Amebix - Axeman 041 Tomahawk - Captain Midnight 042 Waylon Jennings - Jambalaya 043 Heavy Lids - Deviate 044 Red Hot Chili Peppers - Apache Rose Peacock 045 Necrophagia - Rue Morgue Disciple 046 Johnny Cash - Big River 047 Albert King - Laundromat Blues 048 Meklit Feat Preservation Hall Horns - You Are My Luck 049 Le Winston Band - En haut de la montagne 050 Dr. john - I Thought I Heard New Orleans Say 051 Down - New Orleans is a dying whore 052 Samhain - To Walk The Night 053 Creedence Clearwater Revival - Green River 054 Southern Culture on the Skids - Voodoo Cadillac 055 Bonnie, Sheila - You Keep Me Hanging On 056 Warren Lee - Funky Bell 057 Elf - Annie New Orleans 058 Cannonball Adderley - New Orleans Strut 059 Doug Kershaw - Louisiana Man - New Orleans Version 060 Willy deVille - Voodoo Charm 061 The Animals - The House of the Rising Sun 062 Porgy Jones - The Dapp 063 Lost Bayou Ramblers - Sabine Turnaround 064 IDRIS MUHAMMAD - New Orleans 065 John Lee Hooker - Boogie Chillen No. 2 066 Hank 3 - Hillbilly Joker 067 Nine Inch Nails - Heresy 068 Talking Heads - Swamp 069 Irma Thomas - I'd Rather Go Blind 070 Mississippi Fred McDowell - I'm Going Down the River 071 Dee Dee Bridgewater - Big Chief 072 Dr. John - Creole Moon 073 Agents of Oblivion - Slave Riot 074 Steve Vai - Voodoo Acid 075 Saviours - Slave To The Hex 076 Kris Kristofferson - Casey's Last Ride 077 JJ Cale - Louisiana Women 078 Cher - Dark Lady of New Orleans 079 LE ROUX - Take A Ride On A Riverboat 080 The Melvins - A History Of Bad Men 081 Floodgate - Through My Days Into My Nights 082 Opprobium - voices from the grave 083 Quintron & Miss Pussycat - Swamp Buggy Badass 084 Child Bite - ancestral ooze 085 Sammi Smith - The City Of New Orleans 086 The Explosions - Garden Of Four Trees 087 Bobby Boyd - straight ahead 088 Bobby Charles - Street People 089 Wall of Voodoo - Far Side of Crazy 090 Rhiannon Giddens - Freedom Highway (feat. Bhi Bhiman) 091 Elton John - Honky Cat 092 Serge Gainsbourg - Bonnie and Clyde 093 Fats Domino - I'm Walking To New Orleans 094 Cruel Sea - Orleans Stomp 095 Down - On March The Saints 096 Danzig - Ju Ju Bone 097 The Neville Brothers ~ Voodoo 098 Megadeth - The Conjuring 099 Miles Davis - Miles runs the voodoo down 100 Elvis Presley - King Creole 101 Led Zeppelin - Royal Orleans 102 The Lime Spiders - Slave Girl 103 BIG BILL BROONZY -'Mississippi River Blues' 104 Kreeps - Bad Voodoo 105 Dirty Dozen Brass Band - Caravan 106 Kirk Windstein - Dream In Motion 107 Eletric Prunes - Kyrie Eleison - Mardi Gras 108 Merle Haggard - The Legend Of Bonnie And Clyde 109 Corrosion of Conformity - River of Stone 110 THE ADVENTURES OF HUCK FINN (MAIN TITLE) 111 Zigaboo Modeliste - Guns 112 ReBirth Brass Band - Let's Go Get 'Em 113 Inell Young - What Do You See In Her? 114 Jimi Hendrix - If 6 as 9 (Studio Version) Easy Rider Soundtrack 115 Deep Purple - Speed King 116 Exhorder - The Law 117 Crowbar - The Cemetery Angels 118 A Streetcar Named Desire OST - Main Title 119 WOORMS - Take His Fucking Leg 120 steely dan - pearl of the quarter 121 Tabby Thomas - Hoodoo Party 122 Black Label Society - Parade of the Dead 123 Dwight James & The Royals - Need Your Loving 124 Abraham Lincoln Vampire Hunter (2012) The Rampant Hunter (Soundtrack OST) 125 PanterA - The Great Southern Trendkill 126 Ween - WHO DAT? 127 Earl King - Street Parade 128 Ernie K-Doe - Here Come The Girls 129 Dejan's Olympia Brass Band ~ Mardi Gras In New Orleans 130 Body Count - KKK Bitch 131 Goatwhore - Apocalyptic Havoc 132 C.C. Adcock - Y'all d Think She Be Good To Me (from True Blood S01E01) 133 The Meters - Fire On The Bayou 134 Dr. John - I Walk On Guilded Splinters 135 Balfa Brothers - J'ai Passe Devant ta Porte 136 Ween - Voodoo Lady 137 King Diamond - 'LOA' House 138 Creedence Clearwater Revival - Born On The Bayou 139 Dax Riggs - See You All In Hell Or New Orleans 140 Professor Longhair - Go to the Mardi Gras 141 Dixie Witch - Shoot The Moon 142 Ramones - The KKK Took My Baby Away 143 Fats Waller - There's Going To Be The Devil To Pay 144 Mississippi Fred McDowell - When the Train Comes Along with Sidney Carter & Rose Hemphill 145 Treme Song (Main Title Version) 146 Tony Joe White - Even Trolls Love Rock and Roll 147 Nine Inch Nails - Sin 148 Exodus - Cajun Hell 149 NEIL DIAMOND - New Orleans 150 James Brown - Call Me Super Bad 151 Jimi Hendrix - Voodoo Child ( Slight Return ) 152 Allen Toussaint - Chokin Kind 153 Dash Rip Rock - Meet Me at the River 154 Hawg Jaw- 4 Lo 155 Hot 8 Brass Band - Keepin It Funky 156 Hank Williams III - Rebel Within 157 Dejan's Original Olympia Brass Band - Shake It And Break It 158 Jelly Roll Morton - Finger Buster 159 The Royal Pendletons - (Im a) Sore Loser 160 Little Bob & The Lollipops - Nobody But You 161 Gregg Allman - Floating Bridge (True Detective Soundtrack) 162 Michael Doucel with Beausoleil - Valse de Grand Meche 163 Dolly Parton - My Blue Ridge Mountain Boy 164 Othar Turner & the Afrossippi Allstars – Shimmy She Wobble 165 Jucifer - Fleur De Lis 166 Soilent Green - Leaves Of Three 167 Ides Of Gemini - Queen of New Orleans 168 Betty Harris - Trouble with My Lover 169 Lead Belly - Pick A Bale Of Cotton 170 Candyman Opening Theme 171 Goatwhore - When Steel and Bone Meet 172 Acid Bath - Bleed Me An Ocean 173 Pere Ubu - Louisiana Train Wreck 174 Walter -Wolfman- Washington - You Can Stay But the Noise Must Go 175 Alice in Chains - Hate To Feel 176 Body Count - Voodoo 177 Live and Let Die - Jazz Funeral 178 Smoky Babe - Cotton Field Blues 179 Professor Longhair - Big Chief Part 2 180 Lewis Boogie - Walk the Line 181 James Black - Theres a Storm in the Gulf 182 The Balfa Brothers - Parlez Nous A Boire 183 The Jambalaya Cajun Band - Bayou Teche Two Step 184 The Deacons - Fagged Out 185 Thou - The Changeling Prince 186 Black Sabbath - Voodoo 187 King Diamond - Louisiana Darkness 188 Doyle - Cemeterysexxx 189 KINGDOM OF SORROW - Grieve a Lifetime 190 Hank Williams III - Louisiana Stripes 191 FORMING THE VOID - On We Sail 192 BUCK BILOXI AND THE FUCKS - fuck you 193 Down in New Orleans - The Princess and the Frog Soundtrack 194 Trombone Shorty & James Andrews - oh Poo Pah Doo 195 Whitesnake - Ain't No Love In The Heart Of The City 196 The Dirty Dozen Brass band - Voodoo 197 Joe Simon - The Chokin' Kind 198 Down - Ghosts along the Mississippi 199 AEROSMITH - Voodoo Medicine Man 200 Nine Inch Nails - The Perfect Drug 201 The Byrds - [Sanctuary III] Ballad Of Easy Rider 202 The Iguauas - Boom Boom Boom 203 PJ Harvey - Down By The Water 204 Louis Armstrong - Do You Know What It Means To Miss New Orleans 205 Dr John - Right Place Wrong Time 206 ESTHER ROSE - handyman 207 Lightnin Slim - It's Mighty Crazy 208 Slim Harpo - Blues Hangover 209 Irma Thomas - Ruler Of My Heart 210 WEATHER WARLOCK - Fukk the Plan-0 211 Superjoint Ritual - The Alcoholik (Use Once And Destroy) 212 Stressball - dust 213 Trampoline Team - Kill You On The Streetcar 214 Xander Harris - Where’s your Villain? 215 Dukes of Dixieland - When The Saints Go Marching In 216 Kid Congo & The Pink Monkey Birds - Su Su 217 Danzig - I'm the one 218 EyeHatteGod - Pigs 219 Hank Williams Jr - Amos Moses 220 The Cramps - Alligator Stomp 221 Crowbar - The Serpent Only Lies 222 Shrüm - drip 223 Thou - The Only Law 224 DR. JOHN - Babylon 225 Garth Brooks - Callin' Baton Rouge 226 Wild Magnolias - All On A Mardi Gras Day 227 NCIS New Orleans TV Show theme 228 Skull Duggery - Big Easy 229 Harry Connick Jr. - City beaneath the sea 230 Elvis Presley - Dixieland Rock 231 Tom Waits - I Wish I Was In New Orleans (In The Ninth Ward) 232 Neil Young - Everybody's Rockin 233 Philip H. Anselmo & The Illegals - Delinquent 234 CORROSION OF CONFORMITY - Wolf Named Crow 235 Widespread Panic - Fishwater 236 Lillian Boutté - Why Don't You Go Down to New Orleans 237 Bryan Ferry - Limbo 238 Scream - Mardi Gras 239 EyeHateGod - Shoplift 240 Better Than Ezra - good 241 Duke Ellington - Perdido (1960 Version) 242 Bob Dylan - Rambling, Gambling Willie 243 Big Bad Voodoo Daddy - sAve my soul 244 Le Roux - So Fired Up 245 Concrete Blonde - The Vampire song 246 Boozoo Chavis - Zydeco Mardi Gras 247 Idris Muhammad - Piece of mind 248 Les Hooper - Back in Blue Orleans 249 Doug Kershaw - Cajun stripper 250 DOWN - Witchtripper 251 Soilent Green - So hatred 252 Professional Longhair - Big chief 253 Willie Nelson - City Of New Orleans 254 Tom Waits - Whistlin' Past The Graveyard 255 Brian Fallon - sleepwalkers 256 Patsy - Count It On Down 257 Into the Moat - The Siege Of Orleans 258 Bruce Cockburn - Down To The Delta 259 Jello Biafra · the Raunch and Soul All-Stars - Fannie Mae 260 Exhorder - Asunder 261 Cane Hill - Too Far Gone 262 The Slackers - peculiar 263 Crowbar - A Breed Apart 264 COC - Wiseblood 265 Necrophagia - Embalmed Yet I Breathe 266 EYEHATEGOD - Fake What's Yours 333 Alan Vega - Bye Bye Bayou 666 DOWN - Stone the crow

I don’t beads by the way! Hit play here: https://www.youtube.com/playlist?list=PL-iHPcxymC182dTlE-Gii6ZOO5ZrN1Z1T

#new orleans #New Orleans playlist #NOLA #NOLA playlist #Louisiana #corrosion of conformity #Alan Vega #necrophagia #New Orleans songs #mardi gras #Mardi Gras songs #crowbar #eyehategod

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popentertainment-moviereviews · 2 years

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TAKE ME TO THE RIVER: NEW ORLEANS (2022)

Featuring The Neville Brothers, Dr. John, Irma Thomas, Ledisi, Mystikal, G-Eazy, Snoop Dogg, WIlliam Bell, Anders Osborne, Galactic, Mannie Fresh, Preservation Hall Jazz Band, Christian Scott, Donald Harrison, Big Freedia, Ani DiFranco, Alex Ebert of Edward Sharpe and the Magnetic Zeros, PJ Morton of Maroon 5, Rebirth Brass Band, Dirty Dozen Brass Band, Soul Rebels, Voice of the Wetlands, The Givers, Dumpstaphunk, Bobby Kimball, Naughty Professors, Cheeky Blakk, Lost Bayou Ramblers, Walter Wolfman Washington, Master P, Jon Batiste and Davell Crawford.

Narrated by John Goodman.

Written by Martin Shore and Robert Gordon.

Directed by Martin Shore.

Distributed by 360 Distribution Inc. 110 minutes. Not Rated.

About eight years ago, record producer turned documentary film director Martin Shore released Take Me To the River, his look at the music scene of Memphis, Tennessee – particularly the legendary soul label Stax Records. In that film, Shore got together a lot of the surviving sidemen from Stax – and some of the front men like Bobby “Blue” Bland, William Bell and Booker T. Jones – and hooked them up with a newer generation of musicians (mostly hip-hop-based), sat them down in the studio and recorded the ensuing musical fireworks. In between generation-bridging performances, the film gave a brief historical background on the musical and racial resonance of Memphis soul.

Years later, Shore has moved even deeper south… by almost 400 miles – for the second film in the series, Take Me To the River: New Orleans. Like Memphis, New Orleans has a very culturally distinct and evocative music scene. Unlike the mostly soulful sound of last film, the Nola music is more of a gumbo – a mélange of soul, jazz and zydeco roots mixed with bounce beats and native American and African influences, all mixed together into a spicy jambalaya.

Like the first film one takes some of the classic names of New Orleans music – Irma Thomas, The Neville Brothers, Dr. John, The Preservation Hall Jazz Band – and sets them up with jam sessions with some of the youngsters on the Nola scene to record new versions of old classic tunes. Not everyone is from New Orleans, though. Two artists return from the Memphis sessions, William Bell and Snoop Dogg, who team up with G-Eazy to do a rethink of Allen Toussaint’s “Yes We Can Can.” (And Snoop and G-Eazy, of course, are both from California.)

The film starts off on a high note as Grammy-winning singer/songwriter Ledisi is paired up with soul mama Irma Thomas – and the younger artist’s enthusiasm for being in her idol’s proximity is contagious. (Thomas, old pro that she is, takes it all in stride and works hard to make her partner comfortable.)

This leads to a whole set of team-ups – some inspired and some a tiny bit awkward. Aaron Neville and his brothers show that they have perfect soul (and Aaron’s voice is still a thing of extreme beauty.) The mashup of the Soul Rebels and bounce hip-hop artist 5th Ward Weebie is a total jam. Dr. John gets to play his classic tune “Jock-a-mo” (which is better known by its alternate title “Iko Iko”) with the grandson of the song’s writer.

However, sometimes the hip-hop interludes don’t necessarily add to the classic song they are celebrating. Sorry, just like in Memphis, Snoop Dogg dropping rhymes in the middle of his song (“Forgot To Be a Lover” in Memphis, “Yes We Can Can” here) is more of a distraction than a positive addition to the song. Still, in general, these collabs are a life-affirming look at generations of talent bridging the years.

Unfortunately like the first chapter, by the time this film is hitting theaters many of the artists interviewed and performing here have passed on, including Dr. John, Art and Charles Neville of The Neville Brothers (Art was also in the Meters), and young bounce artist 5th Ward Weebie. There is also an extended appreciation of legendary New Orleans songwriter Allen Toussaint, who also died early on in the filming. (Toussaint was not interviewed for the film, nor did he play in any of the musical collaborations, but the film has a good amount of footage of him and the collab of “Yes We Can Can” was performing one of his better-known songs.) The knowledge of their passing gives the celebration of music a bit of a bittersweet feel.

Of course, New Orleans has a long tradition of turning wakes into celebrations and Take Me To the River: New Orleans honors this ritual by mixing the happy with the sad, the mournful with the tuneful. New Orleans knows how to throw a party, and here is further proof.

Jay S. Jacobs

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#Take Me To the River: New Orleans #2022 #Movie Review #Dr. John #Jay S. Jacobs

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dragonrajafanfiction · 3 years

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Coronation

So I said I would post the crazy things that go through my head for no reason on any given day. Here’s one of those.

Who are these people?

It was enrollment season at Cassell College, right after the 3E exam results were released and a caravan of gleaming black Rolls Royce cars drove in a stately procession through the the streets. Pedestrians stopped to watch the unusual sight, whispering about who this procession might be for. The windows of the vehicles were completely blacked out, blocking the view from outside. The entirety of the vehicles was bulletproof. Each one of them has flags displaying a family crest, a green dragon raising its wings and spewing flame on a red background. The caravan stopped in front of Amber Hall. The entrance garden welcomed them with expertly sculpted topiaries of lions and horses. Silk garlands lined the covered walk. The people getting out only got out on one side. The vehicles formed a wall, blocking them from view.

The freshman Caesar Gattuso was already holding his welcome banquet for new members of the Student Union at Norton Hall after winning the Day of Liberty competition against the club Lionheart. The Gattuso family was notoriously rich and high class. Even rulers of countries would be honored to be an invited guest at their galas but people were filing out of the Rolls Royces for this occasion instead. It begged the question why they would spurn going to an arguably better party right next door. Perhaps it was because they were not invited. Or perhaps this was a deliberate play to show they were equal, if not better, than the Gattusos. A bold move, considering those who challenged the Gattuso family risked getting their attention. It wasn’t unusual for those who got their attention to meet with a challenge in return. Losing such a challenge came at a high cost. For some, it would cost them their lives. It was a good reason to conceal one’s identity.

The people getting out had white, grey or salt and pepper hair. Men in crisp suits and black leather shoes walked with women on their arms. Each face was covered in a sequined black masquerade mask adorned with blue feathers. No one checked them in at the door. Everyone in the masks knew they were supposed to be there. From within those doors, a live symphony orchestra and soft sounds of voices and laughter came from the golden light.

A stretch SUV rolled up like a steel anaconda and stopped in front of the entrance garden. All the drivers in this caravan opened their doors and filed out, forming a line on either side of the path to the doors, standing at attention and saluting military style as a young man with dark hair got out with an older man with grey hair who wore a black suit complete with military colors and medals. He walked with a cane made of silver wood and topped with a brass knob.

“Dominic. Lift your head up and stop sulking like a God-damn child.” The man growled under his breath. In a smooth quick motion, long practiced, he struck the young man in the instep with the tip of the cane.

The young man gasped and looked forward but did not break stride despite the pain running up his shin.

The floor of Amber Hall is paved in mirror like marble carved from the same quarry as the Roman Colosseum. Its stately columns rise twenty feet into a dome ceiling of curved windows, lined with gold plated frames. A heavy gilded crystal chandelier dripped from the ceiling to shine light on the people below.

Waiters bearing thin plates of champagne flutes danced among the crowd. Long tables of delicacies framed either sides of a wall. A whole roasted pig lay flat, the classic apple in its mouth, its belly cut open. An ice sculpture of two leaping horses was the centerpiece between the sweeping staircases that led to the second floor. Royalty would not seem out of place here, but the guests were all retired military. They carried ceremonial daggers, swords and pistols along with their suits and gowns. This being Cassell College, however, one could rightly wonder if ‘ceremonial’ was a true way to describe such ancient weaponry.

The lofty double doors opened into the hall and Dominic stood beside his father with the cane, carrying a straight, basket-hilted sword at his hip, a chain arcing from his coat’s breast pocket that was attached to a watch hidden inside. He lifted his chin as proudly as the man next to him, but stared through the magnificent scene in front of him as though he were blind.

The music died down. All faces turned to look at them, full of expectation.

"Prince Dominic of Amsterdam has tested true to his blood." The man announced. "House Nassau will return to the path of Dragonslaying."

The announcement was met with enthusiastic applause and the band began to play a triumphant tune.

Prince Dominic was of the old royal blood. The Dragonslaying royals split off from the political royals nearly a thousand years ago with intent to perfect their dragonblood lineage through carefully selected breeding. Over time, they grew stronger and more bold in their efforts to suppress humanity's natural foe. It was said that this 'shadow royalty' held more influence than that which showed up in the newspapers. This secret branch of the royal family soon joined the Secret Society of Dragonslayers and their names, Nassau and Orange, are recorded in that history. That is until a mysterious disaster befell them. Only one servant girl survived to spread the news. The entire family had been killed in their beds by a band of assassins. The sun set on that glorious family and they weren't heard from again for until, one day, a message arrived at Cassell College from the 'Dragon King of Nassau'. He offered his son to Cassell College.

This is why they had not acknowledged the Gattuso family heir's Gala on this same night and why this gala was filled with military men. Each guest was no soft personality but members of the elite royal guard. The remaining ranks of a military lost to history had come together to receive their new head of state.

Dominic kept his head high, but trembled inside. The 3E exam had left him feeling hollowed out and weak, but his father deemed a visit to the Psychologist Toyama unnecessary and kept him sequestered until the Gala. The new royal family was as fragile as a dragon embryo. As the new heir, Dominic couldn't show any signs of fragility.

Down the staircases, women in sheer white dresses and long hair tied up in braids and buns descended to the sound of a stately march played by the orchestra. Each one carries royal purple cushions with the ancient ancestral regalia. The first carries the crown, a thin circlet of gold with a diamond at its facing. The second carries a golden engraved scepter. And the third: a sword in a sheath made of genuine dragon skin, said to date back to the royal days in Europe. The women stood in a line facing Dominic. Their expressions are blank and serene, like the three women weaving the strands of fate. The music dies down and the hall is silent before these goddesses. Despite the hundred guests, a heavy solemn quiet descended. No one moved.

The women spoke in one voice. "Say your vows."

Dominic took one stride forward. He spoke, his young voice firm and strong. "I swear to the people of my Kingdom that I shall uphold the mission of my ancestors, to hunt and to kill the dragons wherever they may hide."

He paused, swallowing. "This. I promise."

"I swear I will strengthen the bloodline, defend and preserve the homeland, and protect the royal family from all corruption. I will employ all means placed at my disposal for the good of humanity."

His voice echoed in that silence for three seconds. Then came the grating metal sound of dozens of swords, daggers and guns being drawn. The entire assembly kneeled to the floor and all heads were bowed. Everyone placed their hands on their hearts, and solemnly closed their eyes, save his father who stood, watching with a cold and critical gaze. A hundred voices declared in unison.

"We receive and invest you as king. We swear to maintain your inviolable sovereignty and the rights of your crown. This we promise!"

That final shout rattled the venue. Dominic took a deep breath.

The three women stepped forward. First with the crown. She lifted it and placed it on his head.

"Long live the King!" The crowd shouted.

Next, the scepter, placed in his hand.

"Long Live the King!"

Finally, the sword. His hand curled around its hilt and his arm tensed, locked as though struck with an electric bolt. The rest of the crowd could barely breathe as they watched with apprehensive glances. The mystery of such ancient relics had sparked rumors that those unable to control the sword were to be corrupted by it. The sword would devour the swordsman, turning him into a Death Servitor. The older man with the cane lifted his chin and narrowed his eyes. Dominic's teeth clenched momentarily but he slowly relaxed and took the sword from the cushion. The held breath of the guests let out in a relieved sigh and murmuring. The man's cane then thumped the ground in displeasure and the silence fell again.

The three women returned to their places in front of Dominic. They turned to watch him with pale cold faces. Dominic himself was pale from exhaustion. A thin sheen of sweat appearing on his forehead. The hand holding the sword trembled for a second, then stilled. The women opened their mouths and they shouted out in perfect harmony "Long live the King. Death to all dragons!"

#Dragon Raja

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sladesounds · 3 years

Text

The Eureka Brass Band Of New Orleans - Jazz At Preservation Hall

Vinyl Album (1963)

45Worlds

#Eureka Brass Band Of New Orleans #new orleans #jazz #london records

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burlveneer-music · 3 years

Audio

Nation Beat - The Royal Chase - funky brass band interprets music of Brazil and Louisiana

FORRO. FUNK. BRASS. MEET THE NEXT INCARNATION Nation Beat returns with a whole new plan… and a fabulously funky, brash new CD: The Royal Chase. The chase has been on for a longtime for drummer/percussionist extraordinaire Scott Kettner. With his collective Nation Beat, he has long explored the folkloric musical traditions of Brazil and Louisiana. That exploration of the shared history and culture of these two incredibly rich musical areas has led to a hybridity, one mixed with his jazz influence, inspiring Kettner and his crew to compose and perform new music that brings all of these influences together. The chase has led Kettner to a royal payoff. The Royal Chase (NBM), to be released in 2020, is an album that represents a new distinctive sound for Nation Beat. It is the primal sounds of brass instruments mixed with drums and percussion, reinterpreting classics and presenting original songs for curious listeners who thrive on musical pluralism and surprises. The new Nation Beat sound is unplugged and funky. Forró, Funk, Brass ’n’ Sass!  “I wanted to reimagine the classic forró songs from Brazil as vehicles for improvisation in a funky brass band format.” Kettner enthuses in the studio where he co-produced The Royal Chase with longtime friend and collaborator Rob Curto (Lila Downs, David Krakauer), “I’ve always imagined my musical heroes making music together and what it would sound like, what kind of energy it would generate. Dr. John and the Preservation Hall Jazz Band meets Chico Science and Jackson do Pandeiro.” Nation Beat is: Scott Kettner: drum set and percussion Paul Carlon: tenor sax and horn arrangements Mark Collins: trumpet Mariel Bildsten: trombone Joe Correia: sousaphone Special Guests Spyboy “Honey” Irving Banister: interview on track #1 Cyro Baptista: percussion on track #10 Carolina Mama: vocals on track #10 Moses Patrou: vocals on track #4, keys on track #8 Rob Curto: keyboards on tracks #1, 2, 3, 4, 5, 7 Alan Friedman: keyboards on tracks #1 & 3 Pitoco de Aira: Ilú on track #2 Collin DeJoseph: keys track #3

#Nation Beat #jazz #funk #forro #samba #brass #horns #2020 #scott kettner

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