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new orleans through the lens of michael p. smith | the fasCinating tradition of jazz funerals | preservation hall: you Can’t have a — 1
party without MusiC | secrets of the crescent city only loCals know |
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Issue 01
30 Michael P. Smith
Photographer of New Orleans Cultural Wetlands
Intro Masthead
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Welcome to TOAST Editor's Note
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Laissez les bons temps rouler
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52
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Cities of the Dead
The Best Spots to Shop
Jazz Funerals
Cemeteries of New Orleans
For Local Art in New Orleans
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A Joyous Tradition
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Preservation Propogation
Trombone Shorty
Preservation Hall Jazz Band Has Left the Museum Behind
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A Grown-Up New Album
“He paid attention when locals took that culture for granted” Bruce Raeburn Michael P. Smith and Jazz Fest
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Emergence
Street Art in Rome
Swarming with Talent and Grace
Globetrotter
Navigating the Neighborhoods
The Paramount Theater
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Historic Architecture in Seattle Exhibition: Cross the Streets
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The Macro Museum of Art in Rome Must-See Murals in Rome
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The Best Pieces Revealed Tour Guide
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11 Best Cemeteries of New Orleans Artist Spotlight: Luke Pelletier The Gator King
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E D I T O R – I N – C H I E F
Nina Wesler M A N AG I N G
D I R E C T O R
Holly Robins S E N I O R
E D I T O R
Holly Torneby T R AV E L
A DV I S O R
Nora Ratcliffe A R T
D I R E C T O R
Mariel Odland A R T
A S S O C I AT E
Xio Lugo E V E N T
S U P P O R T
Ana Raab E D I T O R I A L
C O N T R I B U T O R S
C O V E R
Julia Rundberg Isabel Blue A DV E R T I S I N G
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A R T :
M I C H A E L P. S M I T H , T R O M B O N E S H O R T Y
ON S TAG E W I T H B O DI DDL E Y, N E W O R L E A N S JA Z Z A N D H E R I TAG E F E S T I VA L , 1 9 9 0.
This 1990 photograph by Michael P. Smith shows Troy
P R O M O T I O N
Anita Wiedenhoeft
Trombone Shorty Andrews with Bo Diddley at the New Orleans Jazz & Heritage Festival. New Orleans native
AC C O U N T
Trombone Shorty began his career as a bandleader at
E X E C U T I V E
Jill Vartenigian
the young age of 6, and toured internationally for the first time at age 12 before joining Lenny Kravitz’s horn sec-
P U B L I S H E R
tion at the age of 19. Currently, he is the bandleader and
Griffin Alexander
frontman of Trombone Shorty and Orleans Avenue, a hardedged funk band. Archival reproductions of this image
F I N D
U S
are available from The Historic New Orleans Collection.
O N L I N E
ninawesler.com/toast S AY
H E L L O
hi@ninawesler.com
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ED I T O R ’ S N O T E
I’m delighted to bring you the innagural issue of TOAST, the ultimate authority on the best of what’s new in art, entertainment, and travel. We’re on a mission to guide you through the most exciting places, new experiences, and emerging trends— to make traveling the world irresistable. Starting on the streets of Rome, to exploring the theater on and off stage in Seattle, to our spotlight on the Big Easy— we will help you get the most from every destination you visit with us by your side. Travel is a gift we give ourselves: to see beyond our own doorstep and understand different cultures; to see how society and the earth is changing; and to see how we are all the same. Travel opens our eyes and gives us greater insight into the human condition. I know it has made me wiser, more understanding, and more grateful for every day. As editor of this publication, I hope you will share with me the desire to travel and experience a world of art, which is especially rich in the Caribbean folklore and history of New Orleans. In this issue, we will guide you through the best places to see and shop for art, to grab muffalettas and a cafe au lait, and to immerse yourself in the culture of one of my favorite cities. As they say, Laissez les bons temps rouler. I am so pleased to showcase the artist Michael P. Smith on our cover. His work cataloges the history and spirit or New Orleans in all its glory. Thank you to the Historic New Orleans Collection for partnering with us to share these incredible photos within our pages. And we thank you, our reader for joining us on these adventures and look forward to spending more time with you in our future issues.
Here’s to the good life!
Nina Wesler E D I T O R – I N – C H I E F
Nina Wesler
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Street Art in Rome P H O T O G R A P H Y S T O R Y
ALIA ELSA ADY
C A M I L L A C OL AVOPE + R . S H I R A Z I
When most people think of Rome they consider the world of the classics, they think of architecture that has withstood the test of time, of ancient structures and towering statues. But they fail to imagine the fact that Rome is a cultural hub of street art. This art movement, although much more contemporary to other art work in the city is actually believed to be tied to cave paintings from a bygone era. Though, they’re far more sophisticated than etchings on a cave wall, each of the paintings mentioned here are an example of the thriving network of urban art that exists in the city. Graffiti seems to have appeared in Philadelphia for the first time in the early sixties, reaching New York by the late sixties. The history of this art form, however, can be traced back to the first appearance of drawings in caves, where the walls were used as blank canvases for creation. Today street art and artists have achieved international fame by producing complex works often rich with political and social remarks and purpose. The city of Rome is one of the most interesting destinations for street art. The range of work in the city is ever growing, from established works that have been in the city for many
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years, to new works that materialize over-
The ancient and Eternal City,
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entrance, which separates Quadraro from
night in various parts of town. The ancient
the adjoining district. The tunnel’s exit is
and Eternal City, where time and the history
painted by Mr.Thoms, and depicts a gigan-
of humanity has marked itself upon every
tic mouth that sucks in everything around it.
corner of its walls, has now become one of
There is a larger corner wall painted by Jim
the centers of contemporary and urban art.
Avignon, the Berlin/New York based artist
It is the first Italian city home to an influx
and last but not least at the end of the tour
of international artists such as Clemes Behr,
you can make your way to the most popu-
Herbert Baglione, MOMO, and many Italian
lar and famous piece in MURO which is the
artists, more specifically Romans such as
work of Ron English entitled Temper Tot/
Alice Pasquini, Sten Lex, Augustine Lacurci,
Baby Hulk. If you are interested in having a
Jerico and Hitnes.
guided tour you can book one for 10 euros.
The excitement around street art in Rome
The tour is available in English.
has received such international attention
Recognized as one of Rome’s art districts,
that the city of Rome recently released a map
San Lorenzo is home to students and street
of the Street Art in Rome and some street
art; from Via dei Volsci to Via degli Enotri and
art itineraries, guiding visitors through
a collective wall through Via degli Ausoni,
their quest to find the most exhilarating
there is much to be seen. It houses the works
art pieces scattered throughout the city,
of many famous international street art-
their slogan reading: Change perspective.
ists including a block-long mural by Alice
The Street is your new museum. This route
Pasquini. This area is also home to the work
includes thirteen of the fifteen municipali-
of French artist Christian Guémy aka C215,
ties in Rome and covers over thirty neighbor-
the Italian artists SOLO, Unga, The Broken
hoods ranging from central and historical
Fingaz Crew, and ABOVE a Californian,
ones such as Testaccio to more peripheral
Berlin based artist who like Banksy has
ones such as Tor Bella Monaca; there are
chosen to hide his identity. Despite being
over 150 streets listened and 330 works to
home to so many well known painters, the
be seen, the most noteworthy mentioned
playful nature of San Lorenzo has made it
in this article.
into a fertile ground for Roman artists to
where time and the
The most famous of the street art expe-
constantly use its walls as their ever chang-
history of humanity
riences that you can have here in Rome is
ing canvas.
the MURO walking tour in Quadraro. This
Pigneto a once predominantly industrial
working class neighborhood gets all of its
area is full of street art. Street artists whose
attention and visits thanks to MURO, the
work can be found here are: Hogre, Hopnn,
upon every corner
open air, free access Urban Art Museum of
Alt Novesette aka Alt97, Uno, and #cancel-
of its walls, has
Rome. You can start your walking tour on
letto# . What Pigneto is sometimes referred
Via dei Lentuli, where Diavù has painted
to is Home of Stencil, because of its famous
Art Pollinates Quadraro. Another politi-
painting of a couple in a tender embrace by
has marked itself
now become one
cally strong work here is the Nido di Vespe,
Sten & Lex who are considered the pioneers
of the centers of
Lucamaleonte that takes into account the
of stencil graffiti due to their discovery of
contemporary and
German blitz that was conducted in April of
half-shade stencil technique. They have
1944. One of the few works by a female artist
been creating work using this method since
Gio Pistone is painted over the entrance
2000 in the streets of Rome, London, Paris,
of the tunnel, a monster that guards the
Barcelona, and New York.
urban art.
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The Ostiense neighborhood is a modern
has been legalized and therefore the walls
this venture for free. They were received
and trendy district where contemporary
of this zone are covered by astonishing
with much affection by the 500 residents
and creative art is condensed with public
pieces not to be missed.
of Tor Marancia. Surreal animals, giant
art and street art; it holds more than thirty
Currently the spotlight is on another
monsters, faces, super heroes all in a riot
large public works and therefore has suc-
area, Tor Marancia, a popular neighbor-
of colors, each telling a story, have trans-
cessfully embedded itself as part of the city’s
hood home to the working class and the
formed the walls of the popular housing
cultural tourism. The space was initially con-
last to be transformed beyond recog-
to yet another open air museum, conse-
ceived by gallery 999Contemporary to pro-
nition by 20 international artists from
quently creating another form of tourism
mote the area between the Piramide and San
10 countries. There are as many as 20
accessible to everyone.
Paolo stations. It was successful at making
monumental murals drawn on the build-
There is much to discover in many more
its mark in 2010 through the Outdoor Urban
ings. This project too was conceived by
neighborhoods in Rome, such as Testaccio,
Art Festival. It was during this time that
999Contemporary. These twenty murals
Centro Storico, and Trastevere, home to
JBRock painted the Wall of Fame on Via dei
are fourteen meters in length with a
the works of artists such as Space Invader,
Magazzini Generali. There are works by Blu,
surface area of 155 square meters each.
Omino71, Mr.Klevra, Diamond, Uno, and David Diavù, all of which and more can be
Sten & Lex, Ozmo, C215, JB Rock, Kid Acne,
Diamond, Mr. Kleva and Moneyless, Seth
Gaia, Borondo, Hitnes, and Lucamaleonte
and Philip Baudelocque, and Jaz are some
found through the guide and app created by
just to name a few. Street art in Ostiense
of the street artists who participated in
the City of Rome entitled StreetArt Roma.
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Cross The Streets P H O T O G R A P H Y S T O R Y
SIMON D’EXÉA
ERIC L. FLOM AND JOHN CALDBICK
Choosing creativity instead of crime is a stance that encourages art, music and sports. The revolution occurs when the street enters the museum and the museum becomes the street. Street art is a unique avant-garde that unifies youth, minorities, and the marginalized in an era of globalization. Cross the Streets at the MACRO will present a comprehensive introspection on street art through a kaleidoscope of urban art movements, including graffiti, stencil art, pop-surrealism, photography, and film. Street art in its various forms, from graffiti writing to mural painting, has a deep impact on the collective imagination. Originating as an underground movement of youthful protest, street art has positively invaded advertising, the fashion, film, and music industries, and the world at large. Cross the Streets aims to express the power of this complex and fascinating movement, highlighting its pioneers and its influence on daily life. The show will also examine street art’s role in inspiring fashion trends and the history of Roman graffiti. The exhibition is conceived by Paulo von Vacano and produced by Drago. It fills the entire MACRO museum and includes over 180 works.
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Street Art Stories details the birth and
author’s style through the artistic medium of
in December 1979 when the Medusa Gallery
evolution of street art through a myriad
their choice. Artists invited to create works
presented the first graffiti exhibition out-
of different artists who have contributed
hail from all over the globe. To name a few;
side of the U.S. On display, are a rediscov-
to the show with their unique styles and
Mirko Reisser (DAIM)— the German street
ered group of works by Lee Quinones and Fab 5 Freddy— thought to be missing for
mediums. Entering the area, visitors are
artist who revolutionized graffiti writing
welcomed by a 14 meter site-specific instal-
and is known as the King of 3D painting,
forty years— that open a window onto the
lation by one of the biggest names in street
Chaz Bojorquez— the tattoo idol known as
generations of local graffiti writers who
art, WK Interact, whose investigation of the
the godfather of Cholo Writing, a form of
have turned Rome into a capital of inter-
urban lifestyle in his art has given life to a
West Coast calligraphy-style graffiti, and
national graffiti writing. The exposition also pays tribute to the trains of Rome’s
post futuristic scene. Next, one encounters
Evol— famous for his miniature and elabo-
walls “conquered” by the mosaics of Invader,
rate urban landscapes. Among the Roman
metro system. No other city in the world can
the French street artist who’s iconic, pix-
artists are, Diamond, known for his dis-
compete with Rome’s impressive number of
elated work is inspired by 8-bit video games.
tinct style— a cross between Art Nouveau
graffitied trains. Unlike in other European
The artist invaded Rome’s streets in 2010.
and old school tattooing— Lucamaleonte,
cities, trains in Rome were not wiped of their
The enormous Middle East Mural (over 10
master of stencil, and JBRock, who is pre-
graffiti tags, but rather left untouched for
meters) produced by Shephard Fairey aka
senting a collection of posters originating
thirty years, free to flash their bright mes-
Obey the Giant— the American street artist
from his street interventions.
sages in transit. Accompanying the works
best known for his Obama Hope poster— will
Other artists on display are Mike Giant,
of Quinones and Fab 5 Freddy, are pieces
be shown for the first time in Europe, along-
Sten and Lex, Will Barras, Cope2, Doze
by Napal and Brus, Jon and Koma, Imos, the
side a diverse selection of thirty of his works,
Green, Roa, Swoon, Fafi, Koralie, Miss
photographer Valerio Polici, and the crews
selected from different stages in his career.
Van, Hyuro, Jeremy Fish, Microbo, Bo130,
TRV and Whystyle.
Adding to the atmosphere is the exposi-
Galo, 2501, Moneyless, Giacomo Spazio,
tion Keith Haring Deleted, care of Claudio
Solomostry. The viewer is then guided
Crescentini, that presents a series of pho-
into a whole new artistic realm dedi-
tographs by Stefano Fontebasso De Martino.
cated to pop-surrealism in street art that
The photos (from the MACRO— CRDAV
includes the works of Ray Caesar, Mark
collection) are a testament to the murals
Ryden, Marion Peck, Camille Rose Garcia,
painted by Keith Haring on the Palazzo delle
Kazuki Takamatsu, Yosuke Ueno. The sur-
Esposizioni of Rome (1984) which were later
real setting also hosts wacky, eye-catch-
whitewashed for political reasons. Also by
ing sculptures (called toys) by Ron English,
Stefano Fontebasso De Martino, are pho-
the American artist who explores brand
tographs (1984-86, private collection) of
imagery and advertising through diverse
another operation by Keith Haring in Rome
channels, including comic book collaging.
on the transparent panels of the bridge
Another area dedicated to street pho-
where the A line Flaminio-Lepanto metro
tography exposes the sharp images of
crosses the Tiber river. This artwork was
acclaimed photographers Estevan Oriol,
also “deleted”.
Glen E. Friedman, Ed Templeton and Boogie.
An immense portion of wall (5 x 10 meters
A second exhibition, Writing a Roma,
per artist) is designated for street art icons
1979-2017, curated by Christian Omodeo,
whose works in a range of techniques from
the founder of Le Grand Jeu (the French
dripping to stencil and poster to canvas,
urban art bookshop), is dedicated to the
add to the exhibition. Produced specifi-
relationship between Rome and Writing.
cally on-site for the occasion of Cross the
The show focuses on graffiti writing in the
Streets, each original work characterizes its
Roman sphere through a timeline beginning
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Nearby, an area called Milestones nar-
Ma0’s design brings the street art lan-
On the 20th of May, the artist JBRock will
rates the story of street art by outlining the
guage into the museum. For Cross the
perform a rare demonstration of art shar-
groundbreaking events that mark the history
Streets, the MACRO is filled with porta-
ing during the special event The Moleskine
of the movement. Among these are the exhi-
ble and impermanent items, from traffic
Black Wall. The mural, entitled Moleskine,
bitions of Studio 14 and International Poster
signs brought in off the streets and into the
il tuo universo (Moleskine, your universe),
Art in the early 2000s, as well as, the project
museum’s great hall, to the very scaffold-
will be produced on a wall composed of 960
Izastikup, the birth of the Outdoor Festival,
ings which have been used to transform the
classic Moleskine notebooks. These very
and Fuck You All, a 1998 Glen Friedman exhi-
huge space into a fascinating urban scene.
notebooks, dubbed Black Books, belong to
bition (works from which are being lent by
The exhibition’s design incorporates all the
graffiti writers who use them to prepare
the curator Rita Luchetti Bartoli).
components belonging to the street art
their works through sketching.
The logo of the exhibition has been
movement in a way that is thought-pro-
designed by Deep Masito, frontman of
voking and quintessentially modern. Many
purchase by the public on the online Drago
Every single Black Book will be available for
the roman rap group, Colle der Fometnto,
of the materials used will be recycled as
shop. The proceeds of the Black Books sale
and among the most gifted Lettering art-
part of future building projects, which
will go to charitable causes. The live per-
ists today. The entire exhibition has been
makes Cross the Streets the most signif-
formance of JBRock will be filmed by the
set up by Studio Ma0, a team of architects
icant production to be designed by Ma0.
television company Amanita Production.
founded in Rome in 1996. Over the years,
The intention of the design is to reflect
The exhibition will kick off with an inau-
Studio Ma0’s work has expanded to incor-
a constructive process in which waste is
guration party celebrating the Rap, Hip Hop
porate multimedia installations in keep-
minimized and the life of the materials
scene and GRAFFDREAM, an international
ing with the company’s mission to connect
used does not end with the exhibition but
point of reference for Writing and Aereosol
architecture and media.
continues elsewhere.
Art, promising to be a legendary night.
The exhibition, conceived and produced by Drago, masterfully catalogs the street art phenomenon, the most globally influential art movement of the last 40 years.
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Must-see Murals P H O T O G R A P H Y S T O R Y
INGRID BA LDW IN
MARIEL HENRIED
Street Art in Rome— decadence or urban renewal? Rome has a bias towards the second. When most people think of Rome they consider the world of the classics, they think of architecture that has withstood the test of time, of ancient structures and towering statues. But they fail to imagine the fact that Rome is a cultural hub of street art. This art movement, although much more contemporary to other art work in the city is actually believed to be tied to cave paintings from a bygone era. Though, they’re far more sophisticated than etchings on a cave wall, each of the paintings mentioned here are an example of the thriving network of urban art that exists in the city. Indeed, local institutions have been continuously and successfully encouraging these kinds of initiatives. Although spontaneously discovering street art can be fun, we’ve curated a guide which spans from the historic center to lesser known neighborhoods, revealing some of the best pieces.
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Torpignattara Mural on Via Galeazzo Alessi, Villa Certosa Turquoise backdrops and dream-like eyes will be the haunting quality of this mural spanning the walls on Via Galeazzo Alessi. This mural which runs alongside the railway was organized by an association of artists named walls and was created in collaboration with a number of artists: Agostino, Arturo, David Vecchiato, Dem, Iuri, Jb Rock & Diamonds, Jonathan Pannaccio’, Lapisanplus, Serpi in Seno, Sten and Lex and Tommaso Garavini
Coffee Break on Via Ludovico Pavoni This 32m mural was powered by Etam Cru and painted by a pair of polish artists. Interestingly enough many of the buildings residents would offer coffee to the painters and so this gesture of kindness was honored through the mural.
Tom Sawyer Via Gabrio Serbelloni This iconic piece of work shows the character Tom Sawyer cleverly depicted by French street art pioneer Jef Aerosol. Accompanying this work is a quote which says You cannot touch the ground until you’ve reached the sky.
San Lorenzo Female Faces on Via dei Sabelli Alice Pasquini’s colorfully vibrant mural celebrates womanhood and carries strong feminist themes. Most of Alice’s works depict strong independent women, so keep an eye out for her artwork on the streets.
Femicide Mural on Via Dei Sardi This mural showing paper cut women realized by Elisa Caracciolo denounces femicide through placing the names of women who were victims of violence and abuse by men.
Testaccio Jumping Wolf on Via Galvani It’s a wonder how Belgian street artist ROA managed to paint this 30-meter-high mural of a wolf bracing for attack in a day! During the afternoon when this painting was finished Testaccians were watching in awe at ROA’s brush work.
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Quadraro
Ostiense
Monster on Via Decio Mure
Fronte Del Porto on Via del Porto Fluviale
Mr. Thomas uses the darkness of the tunnel to depict the face
This building once a former barrack is now the canvas for an
of a monster, sucking everything around him, from street signs
extensive mural by BLU depicting the faces of several monsters
to traffic cones and plants. And if that’s not enough he paints
and using the windows for their eyes.
him a little 3D top hat!
Fish’n Kids on Via del Porto Fluviale Temper Tot/Baby Hulk on Via dei Pisoni
Agostino Iacurci uses the facade of Ostiense’s fish market as
This character painted by New York contemporary artist Ron
the back drop for his painting of a gigantic figure swimming in
English depicts the Incredible Hulk as an angry toddler show-
a sea full of fish with drowning hands outstretched.
ing another side to unbridled brawn and power.
Wall of Fame on Via dei Magazzini Generali Hornet’s Nest on Via Monte Del Grano
In this 60-meter mural artist JB Rock depicts famous charac-
In 1944 the Nazi’s called the quarter of Quadraro a hornet’s
ters from A to Z from Dante Alighieri to Frida Kahlo to Zorro! The
nest for its ability to resist oppressor’s attacks. This mural by
artist also depicts himself among the figures in the paintings
Lucamaleonte is painted in memory of the Quadraro raid of 1944
and in the letter M we find a painting of his mom.
and the quarters enduring influence against fascism.
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Pelletier Luke spotlight: artist
The Gator King Nostalgia for youth is a potent force, a pure vision of what life could be if only we could return to that place. It disregards harsh realities, while embracing the joy, romanticizing the pain. It turns sensual memories into towering symbols that stay with us forever, shaping the values, goals, and hobbies that bring us joy in adulthood. Luke Pelletier unearths this world and these memories, tempers them, but ultimately invites us to hang out back there with him.
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uke Pelletier grew up in rural North Carolina. His reality was shaped and formed by the confluence of punk and skateboarding with traditional American values.
Living in a tourist town for much of his life, he has been heavily influenced by seasonal economies as well as the multi-level relationships, dependence, and resentment between tourists and locals. Much of Luke’s art blurs the lines between celebrating and condemning a culture that agrees to be taken advantage of while it takes advantage of others. His art is filled with personal anecdotes, dark humor, dualities, contradictions, repetition, and scenes of paradise that are simultaneously pristine and decaying. Pelletier uses photography, painting, sculpture, social practice, writing, and craft to riff on his moral dilemmas with romance, objectification, labor, competition, tourist culture, capitalism, addiction, free will, masculinity, and fun. His work playfully incorporates sentimentality and Americana, contrasting them with the inner conflicts of growing as a person and as a man.
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A lot of my inspiration comes from the f lea markets I visit in the South, the hand painted signage, building materials, alligators, and hard work. The South is a complicated place, but it’s where I’m from. I think it’ d be hard for me to make anything that doesn’t have some sort of reference to how and where I grew up.
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The Best Spots to Shop for Art in New Orleans
Countless artists from all over the world regularly flock to the Port City in search of their creative muse. Throughout the course of its history, the Big Easy, known as a haven where creative minds come to hone their craft, has placed itself on the map as a world-class fine arts powerhouse supporting and embracing every aspiring artist’s thirst to express themselves, no
Julia Street Located in the heart of the city’s renovated Warehouse Arts District, Julia Street is known for its eclectic mix of art galleries. Nicknamed ‘Gallery
matter how that might be. What has emerged from the city’s propensity
Row,’ this renovated and now-upscale
to embrace artistic endeavors is a unique, city-wide spread of artist-run
19th century corridor, is helmed in its
exhibitions, open-air markets, boutique galleries and street vendors that
majority by NOLA-based artists,
allow for both local and visiting art lovers to bring home a piece of New Orleans with them, at whichever price pleases their wallet.
making the perfect destination for contemporary art lovers. Head to Julia Street on the first Saturday of every month starting 6pm for extended gallery hours, tastings, music and more.
Magazine Street Built during the late 18th century, Magazine Street is a six-mile-long stretch filled with specialty boutiques, unique pubs and dining venues, among other attractions. Running through some of New Orleans’ most treasured neighborhoods, this Garden District commercial strip features a wide selection of art galleries offering everything from paintings and drawings to photography and sculptures.
Royal Street One of the oldest streets in New Orleans, Royal Street is a pedestrian market located in the city’s historic French Quarter neighborhood, one block over from Bourbon Street. This picturesque, 13-block stretch, adorned with colorful galleries, antique shops, boutiques and restaurants, is famous not only for housing one of the South’s greatest gallery concentration, but also for being one of the world’s most Above: Paul Lewin, "Zyla." Top Right: Ingrid Siliakus, "It's Nice That."
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06 STUDIO BE Take a journey to begin to understand
11 ASHLEY LONGSHORE STUDIO GALLERY
the complexities of race in the city and
An irreverent, funny, and fascinating
culture of New Orleans.
gallery of a local artist that recently has
2941 ROYA L ST
made quite a splash! 4537 MAGAZINE ST
07 M.S. R AU ANTIQUES Amazing antiques and jewelry. It's like a
12 BYRDIE'S POTTERY
museum in here! If you're lucky you can
In addition to serving yummy coffee &
hold a dinosaur egg or get a secret tour!
tea, this inviting coffee shop is also a
630 ROYA L STREET
delightful art gallery. 2 4 02 A S A I N T C L AU DE AV E N U E
08 RED TRUCK GALLERY 01 FRENCHMEN ART MARKET
town featuring Americana, Outsider,
13 FR ANK RELLE PHOTOGR APHY
A local art market open daily + nightly. A
and Contemporary Folk Art.
New Orleans and Southern Louisiana
nice change or scenery from the restau-
938 ROYA L STREET
Fine Art Photography you won't be able
By far one of the coolest galleries in
rant and nightlife on Frenchman Street with a great collection of local artists. 2 2 3 1 S A I N T C L AU DE AV E N U E
to resist taking home.
09 MAGAZINE STREET INTEREST
910 ROYA L STREET
Magazine Street is amazing. Full of local
14 GOOD CHILDREN GALLERY
02 DR. BOB'S FOLK ART
boutique shopping, bars, and restau-
This gallery has edgy art and hors
Quirky art studio and shop of the man
rants, you can easily walk and visit the
d'oeuvres every second Saturday.
who makes the "Be Nice or Leave" signs
entire 4-mile stroll to Audubon Park.
4 0 3 7 S A I N T C L AU DE AV E N U E
you'll see all over the city.
1030 PHILIP STREET
10 THOMAS MANN GALLERY
15 THE HISTORIC NEW ORLEANS COLLECTION
03 ARTHUR ROGER GALLERY
A variety of contemporary jewelry,
Home to Michael P. Smith's gorgeous
Polished gallery mainstay featuring
home accessories, and unique gifts by
photographs of New Orleans' life and
regional & international artists in sev-
other artists.
culture through the decades.
eral exhibit spaces.
1812 MAGAZINE STREET
533 ROYA L STREET
3027 CHARTRES STREET
432 JULIA STREET
04 THE FRONT This space recently hosted an edible insect installation where dairy goats were hailed as guests of honor. 41 0 0 S A I N T C L AU DE AV E N U E
05 JONATHAN FERR AR A GALLERY Julia street is where all the art galleries are located and the hugely popular White Linen Night in August. 400A JULIA STREET
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Cities of the Dead C E M E T E R I E S O F NEW ORL EA N S
Burying the dead in a place built below sea level was a problem that faced the earliest residents of the French settlement that became New Orleans. The solution agreed upon, to entomb the departed
city’s most lingering attractions: cemeteries that are both historic and hauntingly beautiful. Wander the purported resting places of voodoo queen Marie Laveau, musician Al Hirt and Civil War general P.G.T. Beauregard— all residents of what is known in New Orleans as the Cities of the Dead.
P H O T O G R A P H Y
SARAH CHASE
S T O R Y
KENAZ FILAN
in elaborate marble chambers above ground, created one of the
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ed X’s scrawled with lipstick, cray-
in downtown New Orleans. Although private
It’s also the spot to see Josie Arlington’s
ons and red bricks cover the Greek
property, the French Quarter is also part
1911 red granite tomb. It features a life-size
revival tomb of Marie Laveau, New
of the Jean Lafitte National Historical Park.
bronze figure of a young woman holding
Orleans’ most widely known voodoo queen
Ranger Jake Garrity, stood at Laveau’s tomb,
a bouquet of roses in her hands and rap-
who died in 1897.
telling visitors the story of the voodoo queen.
The red X’s are always there. They’re
“It might seem odd to find a voodoo queen’s
ping at the tomb door. Arlington was New Orleans’ most famous
voodoo wishes. They’re also only a part
grave in a Catholic cemetery, but in New
madam; she also designed her own tomb.
of the voodoo mystique— including coins,
Orleans, voodoo brought from Africa and
The statue symbolizes one of her standing
flowers, candles, an unopened can of beer
the Caribbean was fused with Catholicism
rules: that a virgin never be permitted to
and a decapitated chicken— that visitors
by many members of the church,” he
enter her bordello.
leave at Laveau’s last resting place, the
explained, adding, “There is always voodoo
The 150-acre immaculately manicured
Wishing Tomb.
paraphernalia at Marie’s tomb, and often
Metairie Cemetery, where several of the
New Orleans cemeteries— filled with
unexpected surprises. “On three separate
modern tombs cost $500,000 to $1 mil-
above-the-ground tombs— are so fasci-
occasions, when I led a cemetery walk and
lion, is laid out in an oval. That’s because it
nating that the National Park Service has
stood before her tomb, a calico cat came up
was a race track before it became a cem-
a ranger-led daily walk through St. Louis
and rubbed against my legs. I’m not quite
etery in 1872.
Number One, the oldest cemetery in the
sure what that all means,” he said.
Many who played prominent roles in
city, established in 1789.
Many visitors also troop to Metairie
history are buried in Metairie Cemetery.
Owned and operated by the Catholic
Cemetery, the showplace of New Orleans’
Here lies William C. Claiborne, Louisiana’s
church, St. Louis Number One is in the
graveyard architects. Many of the city’s
first governor. While in Congress, he cast
French Quarter, the 70-block historic area
wealthiest families are buried there.
the deciding vote for Thomas Jefferson in
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the deadlocked 1800 presidential election
tombs in many instances for more than
between Jefferson and Aaron Burr.
one hundred fifty years.
on smaller upright headstones and on two headstones lying flat on the ground.
In its early years, New Orleans had
“You can put as many relatives, friends
There are large society tombs where members of organizations are buried. The
numerous malaria, yellow fever and chol-
or whoever you wish in a single tomb or
era epidemics, which accounted for thou-
single grave in New Orleans,” explained
Swiss society has a tomb, so do the Italian
sands of deaths. Many parts of the city were
Johnny Braniff, 66, sexton for the Firemen’s
and Portuguese societies, the Elks Club
once cemeteries. The Superdome sits on a
Charitable & Benevolent Assn.’s Greenwood
and the New Orleans Typographical Union,
former cemetery. When road construction
Cemetery, founded in 1852.
and many more.
occurs and new structures are built, cof-
“When someone dies,” he said, “the
Many people visit the cemeteries to marvel at the sculptures. One cemetery
fins and human bones often are unearthed.
oldest coffin in a tomb or grave is removed
Above-ground tombs originally were
and destroyed. The remains of the dead
has a life-size statue of a man holding a
used because New Orleans lies below sea
person in that coffin are put in a body bag
copy of his marriage license. His widow
level on a former swamp.
in a corner of the tomb or grave.”
had the statue created to let everyone know
“Floods were common, and the dearly
Many tombs and graves will list all those
that, despite gossip to the contrary, they
departed would often dearly depart down-
buried at the site over the years. But on
had indeed been lawfully married.
stream,” explained ranger Garrity. “The
some tombs and graves, families often do
Cypress Grove and Greenwood cem-
water was so close to the surface that coffins
not bother to list every name. “It costs
eteries are owned and operated by 340
and bones would pop up and flow through
money to add each name. The families
descendants of the volunteer firemen
the city during heavy rains. The land has
know who is there. They save money by
who organized the Firemen’s Charitable
been stabilized for years, but the custom of
not inscribing all the names,” Braniff said.
& Benevolent Assn. in 1834 and later started the cemeteries. John C. Freese Jr., 44, sec-
above-the-ground tombs continues.”
At the Sbisa plot in Greenwood Cemetery,
New Orleans continues a unique ceme-
for example, there are 23 people listed
retary-treasurer, is the great-grandson of a
tery tradition: unlimited burials in tombs
as being buried in the one grave. The
volunteer fireman. There haven’t been vol-
and plots. Families have used the same
names are on a large upright headstone,
unteer firemen in New Orleans for years.
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— New Orleans —
Ernie K-Doe was laid to rest in style. He was known for recording the hit Rhythm & Blues single Mother in Law in the 1960s. He faded from public sight for decades but was back in the musical limelight when he passed away in 2001. His jazz funeral was a bit over the top even by New Orleans standards. His lifelike wax statue was in his procession and thousands lined the route on the way to his final resting place in a donated tomb in St. Louis No. 2 Cemetery. Even more grand was the jazz funeral for Tuba Fats in 2004. It started at the old City Hall on St. Charles Avenue, made its way to the French Quarter and then on to Tremé. A regular at Preservation Hall, he was loved by the public and the music community. A mentor to younger jazz players, he had played on Jackson Square, in Europe and wherever his talents took him. Not all those honored with a jazz funeral were musicians or African Americans. The popular white and long lived retired Archbishop Philip Hannan of New Orleans had one in 2011. His jazz funeral was labeled a solemn funeral cortège in official press releases. It began at the seminary on Carrollton Avenue and made its way to St. Louis Cathedral accompanied by many marchers, school bands and jazz groups. The streets were lined with
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well wishers. He is buried below the floor
several drinking establishments and
of the sanctuary of the St. Louis Cathedral.
sponsored parades on St. Patrick’s Day.
A more typical jazz funeral begins at a
One of his last wishes was for a jazz funeral
church or funeral home. A brass band is fol-
complete with a traditional hearse for his
lowed by a glass-sided hearse, very likely
cremated remains and a band to lead the
pulled by a white mule. The flowers go on
procession on a walk through the Quarter
top, the coffin inside and the mourners
past his favorite spots.
walk behind. The procession moves slowly,
Not a religious man, he told his wife Liz
dirges are played, sometimes punctuated
that, if there was such a funeral, he wanted
by A Closer Walk With Thee. Arriving at the
no religious music. When he passed, his
prepared grave site, often a tomb with a
friends saw to it that his wishes were car-
curtain hiding the empty vault, the words
ried out, hired motorcycle police to line the
of religion and remembrance are said and
route, saw to the proper city permits and
the pall bearers lift the coffin and slide it
arraigned for a first-class brass band, the
into the tomb.
Storyville Stompers.
The curtain drops. The mourners realize
When it was time for the event, his wife
that the cares, worries and suffering of the
asked the band members to omit religious
deceased are over. That person has gone
tunes. After a brief conference among
to GLORY! The band switches to spirited
themselves they told her that ALL jazz
music like When The Saints Go Marching
funeral music was religious. So the tra-
In. A mood of joy dawns as mourners begin
ditional music was played as he was in no
to celebrate the release of their brother or
position to complain. The funeral ended as
sister to a better life. They follow the band,
he had wished, with his ashes placed above
keeping time to the music, sometimes as far
the cash register of his favorite establish-
as to the home of the deceased. Others can
ment. There they remain today.
join in, forming what is called a second line,
In the late 1800s, when early deaths were
as even strangers can help celebrate a life.
more frequent than today, families had a
The defining moment of a true jazz
horror of being too poor to bury a loved
funeral is the switch of music from sad
one. Working-class people brought burial
to joyous. With long funeral processions
insurance at a nickel a week, collected by
of local celebrities, the lively music and
door to door insurance men. Another option
second line activity can make its way to
was to join a mutual aid society that could
the starting point. This is not perceived
provide a proper funeral. In the Black com-
as disrespectful, but as a tribute, particu-
munity a good send off could include a pro-
larly by the well organized and well-dressed
cession and music.
marching groups that join in.
The importance of going out in style is
Jazz funerals have been held that do not
reflected in these lines of the old blues
involve a burial or prayers. Jim Monaghan’s
song, St. James Infirmary:
was one example. He was well-known and
loved in the French Quarter, had owned
top Stetson Hat; Put a twenty-dollar gold
“Oh, when I die, bury me In my high
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piece on my watch chain So the boys will
of any parade, having fun and strutting
know I died standing pat.”
to the music, second-line style. They are
Traditions evolve. A development relat-
known to carry sticks supporting dozens
ing to the jazz funeral is, of all things, wed-
and dozens of paper flowers which they
dings celebrated the jazz way! On a typical
present to pretty women— one flower in
Saturday afternoon there may be two or
exchange for a kiss! The best known Mardi
three of these happenings in the French
Gras marching group was founded by clar-
Quarter. A couple will take their vows at the
inetist Pete Fountain. It is the (pronounce it
Cathedral or in Jackson Square and have a
carefully) Half-Fast Walking Society.
procession to the reception led by a brass
Scholars may not all agree that jazz was
band, often the very group used in funer-
born in New Orleans, but they will admit
als. The guests become the second line –
that the word jazz certainly did. It was in
strutting and keeping time to the music.
New Orleans that it matured and became a
There are other second-line spin offs, like
part of the fabric of music everywhere. One
the marching clubs seen on Mardi Gras day.
wonders when the joy of jazz funeral cele-
Groups of men, all dressed alike, will hire
brations and spirit of second-line proces-
a band to lead them. They will walk along
sions will spread to enrich the world scene.
the major parade routes, but not as part
Isn’t every life worth celebrating?
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New Orleans Cemeteries You Don't Want to Miss
Cemeteries are an intrinsic part of New Orleans’ landscape and history. In particular, because New Orleans is below sea level, digging six feet under is rarely a viable option. So, in turn, New Orleans has a unique cemetery culture of bodies being placed in above-ground tombs. In New Orleans, you’ll find cemeteries dating back as early as 1789; the triple-x marked tomb believed to house voodoo queen Marie Laveau; a chilling Katrina memorial paying tribute to the unclaimed and unidentified victims of the storm; and, in some cases, biting stories that may haunt you for the rest of your life.
S T. LOUIS CE ME T E RY NO. 3 Opened in 1854 and much tidier than the other St. Louis cemeteries, this was a built upon a leper colony. Carved stone angels adorn the entrance area, which leads to 10,000 burial sites and 3,000 wall vaults.
ST. ROCH CEMETERY NO. 2 Far less creepy than St. Roch #1, this cemetery has fantastic tile mosaics of saints and several mausoleums. The intricately framed headstone photo memorials are about as heartwarming as it gets.
ST. LOUIS CEMETERY NO. 1 The city’s oldest cemetery (1789) is a maze of tombs and crumbling bricks and it’s widely believed that voodoo queen Marie Laveau’s remains are here. Many old city VIP are interred here. The most famous recent addition is a controversial tomb (it’s a pure white pyramid) that Nic Cage will be buried in when he passes.
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HOLT CEMETERY
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GREENWOOD CEMETERY & MAUSOLEUM
While not the most architecturally
This cemetery, originally for the city’s
significant, the Carrollton Cemetery is
indigent population, is not one you’re
Opened in 1852 by the Fireman’s Char-
one of seven cemeteries owned by the
likely to see on a New Orleans cemetery
itable and Benevolent Assoc., this is
city. Founded in 1849, the cemetery was
tour. Holt is unique in that 99 percent of
one of the city’s largest cemeteries. The
owned by the town of Carrollton, which
its population is buried below ground,
Elks Lodge tomb is topped by a gigantic
was later annexed by the City of New
and rainfalls can cause some... turnover.
bronze elk statue. The Confederate
Orleans in 1874. Several notable and
But the oak trees draping the lot and
Monument, with busts of Robert E. Lee
pioneering families who have positively
the personal marks on the graves make
and Stonewall Jackson contains the
impacted the town are buried here.
this cemetery a special place.
remains of 600 soldiers.
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CHARIT Y HOSPITAL & K ATRINA MEMORIAL CEMETERY
ST. LOUIS CEMETERY NO. 2
The final resting place for thousands
miasmas from yellow fever and cholera
Opened in 1823 after it was decided who died in Charity Hospital, particular-
victims were causing the ails of the
ly during the yellow fever epidemic. In
city. Guidebooks say not to visit this
1937, the land was raised several feet so
cemetery, which is in the middle of
graves would be safe from flooding. The
the projects. The ornate ironwork and
Katrina Memorial was added in 2007 to
Greek Revival-style tombs are fantastic,
remember the unclaimed and unidenti-
though. Earl King and R&B legend
fied victims of the storm.
Ernie K. Doe share a tomb here.
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LAFAYETTE CEMETERY NO. 1
CYPRESS GROVE CEMETERY
ST. ROCH CEMETERY NO. 1
A non-denominational, non-segregated
Built in 1840 and recognized for its fine
This may be the most unusual cemetery
cemetery from 1833. Anne Rice, who
marble and cast iron tombs, this was
ever. Past the tombs and Stations of the
used to live around the corner, created
the first cemetery in the city to honor
Cross, the Gothic Revival chapel’s tiny
some of the most popular tombs here—
volunteer firemen. Maunsel White, a
side room is littered with prosthetics,
in her imagination. The Mayfair Witches
Battle of New Orleans veteran and one
intimate hand-written thank-you notes,
and Lestat the vampire’s tombs are
of the first to use Tabasco peppers to
coins, crutches, and more. Truly a you
based off of this cemetery.
make a hot sauce, is entombed here.
have to see it to believe it kind of place.
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PHOTOGRAPHER M I C HAEL P. S M ITH:
Preservationist of New Orleans’
Cultural Wetlands P H O T O G R A P H Y S T O R Y
COURTESY OF THE HISTORIC NEW ORLEANS COLLECTION
KARL BREMER
This profile of New Orleans cultural historian and photographer Michael P. Smith was originally published in 2004 in Beat Street, a New Orleans literary magazine now out of print. By that time, Smith had slipped into semi-retirement by then as he began to succumb to the effects of Parkinson’s and possibly Alzheimer’s diseases. Smith passed in 2008 and left behind a legacy that represents one of the Crescent City’s most magnificent treasures. Smith’s prints, negatives and other archival material was acquired by the Historic New Orleans Collection in 2007 where it is being preserved for future generations. His photographs also are in the permanent collections of the Bibliotheque National in Paris, the Metropolitan Museum of Art, the Smithsonian Institution, the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Louisiana State Museum.
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James Booker — 59
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ew Orleans photographer David
But it’s the words of Larry Bannock, Big
Richmond calls Michael P. Smith
Chief of the Golden Star Hunters, that
“There’s a popular misconception around town that Mike is, like, gone,” says New
“the last true great undiscovered
would be most likely to bring a smile to
Orleans photographer Bob Compton. “But
photojournalist of the 20th cen-
Smith’s face.
that couldn’t be further from the truth.
tury,” and places him in the pan-
“Mike Smith wasn’t a cultural pirate,”
There’s still light in those blue eyes.” There’s also a lot more information
theon of such giants as W. Eugene Smith,
Bannock says. “He gave back.”
Dorothea Lange and Henri Cartier-Bresson.
Bannock’s speaking of Smith in the past
behind those blue eyes that Smith is fran-
Jeff Rosenheim, a former assistant of
tense reflects the bittersweet fact that Smith
tically trying to download into his latest
Smith’s in the early ‘80s who is now associate
hasn’t been a fixture out on the street for the
book, In the Spirit: The Photography of
curator of photography for the Metropolitan
past couple of years, capturing the pulse and
Michael P. Smith from the Historic New Orleans Collection, before it slips away.
Museum of Art in New York, asserts unequiv-
spirit of New Orleans’ mesmerizing subcul-
ocally that “Mike Smith’s life’s work should
tures of Mardi Gras Indian practices, social
(The book was published in 2009.) Smith
be preserved in perpetuity in New Orleans
and pleasure clubs, second-line parades
also has coauthored a book with University of Munich professor Berndt Ostendorf on
for the study of the culture of New Orleans
and spiritual churches. His battle with
in the last third of the 20th century.”
Parkinson’s and possibly Alzheimer’s dis-
New Orleans jazz funerals that is essen-
New Orleans Jazz & Heritage Fest Producer
eases has kept him from pursuing the mis-
tially complete but remains unpublished. While the subject of Michael Smith’s
Quint Davis calls Smith “one of the great
sion that at once has been Smith’s vocation
documenters and great depicters of a unique
and avocation in life: to preserve on film the
physical and mental health has been of
aspect of American culture. Mike is not just
living, breathing, organic, cultural wetlands
concern to many in recent months, the
documenting, he’s creating great art.”
known as New Orleans.
health and preservation of his legacy—and
Big Swimps
Michael P. Smith
S U B J E C T
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St. Catherine
Michael P. Smith
his monumental archives—has become of
Rosenheim was 22 when he moved to
Orleans culture, had just been published,
paramount importance as well.
New Orleans in 1983 and went to work for
and planning for a related exhibition of his
“The value of this life that Michael has led
the Louisiana State Museum. Smith’s first
work was underway.
is enormous, and it would be a shame to let
book, Spirit World, a captivating look at
“I had the pleasure of being involved in his
it slip through New Orleans’ hands like so
spiritual churches, Mardi Gras Indians and
exhibition at the Louisiana State Museum,”
many other things,” declares Rosenheim.
other aspects of African-American New
recalls Rosenheim. “I had a lot of experience
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working with archives of both living and
best known for his images from the New
He came every day, every year and went to
deceased photographers. And I could rec-
Orleans Jazz & Heritage Fest. Smith is the
every stage. Multiply that times 35 years.”
ognize that Michael was not just a local pho-
only living photographer to have shot every
But Davis is quick to note, “Jazz Fest is
tographer, but a local photographer who was
Jazz Fest (until his last in 2004), according
really just a spoke in the wheel of Mike
connected to some of the best aspects of
to Fest producer Quint Davis. Leslie Smith,
Smith’s work. We’re maybe a big spoke …
New Orleans culture. Michael not only had a
Michael’s daughter, helped guide her father’s
Having created this great body of artis-
remarkable commitment to his subjects but
lens at the 2004 Jazz Fest.
tic work, he also has brought the images
he seemed to be blessed with being at the
Jazz Fest recognized Smith in 2004
and the awareness of the culture to a lot of
right place at the right time. … He did some
with a showing in the Grandstand of his
people. His photography of those things is a
very innovative things, and he just ‘had it.’”
images printed in large format by David
window to the world, and he helped to both
Rosenheim worked in the darkroom with
Richmond, and 50-60 of his images repro-
popularize and legitimize those cultures.”
Smith to put together two duplicate sets of
duced, mounted on boards and placed
Larry Bannock: ‘Mike Smith wasn’t
prints from the exhibition for a traveling U.S.
around the fairgrounds as close as possi-
a cultural pirate. He gave back.’
Information Agency show. “One would travel
ble to where they were originally shot. His
Says Larry Bannock: “He gave something
to the Caribbean—the Black Caribbean—and
work also is being exclusively featured in
to the people that a lot of guys don’t. Mike
the other would go to Africa. It traveled for
this year’s Jazz Fest program.
was one of the first whites to see one of
years and years. I used to get photographs
“We’re going to celebrate our 35th anni-
these suits put together. Mike was there
from people who saw this exhibit all over
versary through the eyes of Mike Smith,”
when you be sewing, and for years when
the world.”
says Davis. “The whole infield is going to
I was making my Indian suits, Mike would
The cross-cultural appeal of the exhibit was remarkable, says Rosenheim. “Music culture is an international language and so is photography, and they both come together perfectly in Michael Smith.” Besides documenting New Orleans culture with his camera, Smith also maintains a vast audio archive of events he’s covered. “He used to wire himself with sophisticated stereo equipment and record these
the “There’s an old saying in black church — Give me my m alive.” flowers while I’
parades and funerals.” Listening to those recordings as he worked in the darkroom
be a Mike Smith kaleidoscope of the festival.”
with Smith’s powerful images “was like a
Since the beginning, Smith has been “Jazz
give me books. Whenever Mike would go traveling and there was a book on Native
kinetic experience.” The sounds of Smith
Fest’s unofficial official photographer,” says
American culture, he brought it back and
working his way through the drum section
Davis. “When you start to do a heritage fes-
said ‘Maybe you can use this.’
of a jazz funeral, then the horns, shifting
tival that has New Orleans street culture
“A lot of times when I was doing patches,
this way and that as he finessed his posi-
in it, Mike comes along with it. Because in
Mike would go out and take pictures of land-
tion for the maximum vantage point pro-
addition to being an artist and a photog-
scapes and color to make it come out right.
vide an aural context for these images
rapher, he’s an intrinsic part of the culture
There’re not a lot of photographers you
that should be preserved as well, says
himself. When we started doing this festi-
could ask that of.”
Rosenheim.
val, he was part of New Orleans street cul-
Smith recognized the value of preserv-
Smith’s body of work reaches deep into
ture. Then he became part of the festival
ing the Mardi Gras Indian culture and he
New Orleans’ subcultures. But he is probably
culture. He was also unbelievably steadfast.
encouraged Bannock: “Don’t just do the
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"Gate" Johnson Funeral (Wild Magnolia's)
Michael P. Smith
Avenue Steppers Marching Club
Michael P. Smith
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bead work. Know the culture, know the
through. But when Mike Smith went Uptown,
sheets of his stuff and working with the
history, know why the blacks ran away and
he was protected, and a lot of people knew
images, that Mike didn’t just take pictures,
how the Native Americans helped them.” He
what he was about.”
he received pictures. He just went out there
also urged Bannock to become registered
David Richmond first knew Michael Smith
and wrestled away until some spiritual force
as a “master craftsman in black Mardi Gras
in 1969, when he took Smith’s place as an
said ‘You’re gonna receive this one.’”
Indian bead work” with Louisiana Folk-life.
assistant to local Black Star syndicate pho-
The Louisiana State Museum raised the
“One of the people that made me a Big
tographer Matt Heron. He ran into him peri-
bar for recognition of Smith’s work last year
Chief was Mike Smith,” says Bannock. “When
odically in the mid-70s, although they were
when it purchased 75 archival-quality prints
I first became a Chief, I was going through a
never close friends.
for its collection. “These pictures are going
problem, and I was talking to Mike about it.
“I had a little gallery in New Orleans in
to be the museum’s basis of the represen-
And he said, ‘When you become a Chief, you
the 70s and that was the first real gallery
tation of African-American culture in New
become the center of attention. People say
showing of Mike’s work—the Spirit World
Orleans,” says Richmond. Rosenheim says Smith’s entire collection—
“His best pictures— they're alive they come out and knock you out”
photography, recordings, notes—should find a permanent and appropriate home in New Orleans, perhaps the New Orleans Museum of Art or the Louisiana State Museum. “It should be there, in the city that created him and in the city that created the music and culture. I would urge any one of the museum
things about you—negative things. That’s
stuff. But Mike didn’t hang out with that gal-
directors in the city to preserve this archive
all part of being a Chief.’ And the first thing
lery group. He never spent any time being a
in all its complexity and richness.”
he said was, ‘Buy your own equipment.’
dilettante photographer. He was hanging
The archiving of Smith’s work “is an
Everything I needed to make a suit, Mike
out with people closer to the culture—Jerry
ongoing process,” says Bob Compton. “The
said that’s what I need. When you got your
Brock, Jason Berry, Jeff Hannusch.
phrase ‘treasure trove’ does not do it jus-
own, nobody can come at you.
“I really lost track of Mike for about 15
tice. There must be 100,000 images in that
“Mike isn’t a 9-to-5 friend. He’s a 24-hour
years,” Richmond continues. “Two years ago
Race Street building. It physically fills up five great big rooms in an old hotel-size
friend,” Bannock continues. “Whenever you
I started this exhibit space and went over
called him, he was there. There’s a lot of
to Mike’s place and said this can’t happen.
house.” Meanwhile, Smith races against
people that’s on the street today because
There was nobody to really champion his
time to finish In the Spirit, which his
of Mike. Carpenters, contractors, when
work, and he certainly wasn’t going to do
daughter, Leslie, describes as “an explo-
things were slow, Mike would help them
it anymore.”
ration of freedom rituals in New Orleans,”
get jobs. He wasn’t just a little white boy
Richmond selected about 30 images for
from jazz funerals to the underground
who came along and took all the pictures
an exhibit. “I started printing them bigger,
gay Mardi Gras.
and made all the money. … When the testi-
and cleaner. And I just realized that I’d fallen
“He’s driven. He’s afraid of not remem-
mony is given, they can say Mike gave back—
in love with the images. His best pictures—
bering, so he writes and doesn’t sleep, but
he didn’t take away.”
they’re alive, they’re not two-dimensional.
he’s got so much writing to do, and it’s a
Becoming a part of the culture he was
You don’t look at the pictures—they come
vicious cycle.”
documenting had its down sides, too, says
out and knock you out, especially when
Bannock hopes the recognition that’s
Bannock. “Mike and Jules Kahn were taking
you’re giving birth to something like that
due Smith happens soon.
pictures of second lines when it wasn’t pop-
in the darkroom.”
“There’s an old saying in the black
ular. Mike Smith was run out of places, Mike
And, Richmond observes, “I’ve come
church,” he muses. “Give me my flowers
Smith was harassed, the same thing we went
to the conclusion, in looking at the proof
while I’m alive.”
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Bishop I. Butler, Founder
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Trombone Shorty, Bo Diddley,
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"Uncle" Lionel Batiste Leading Funeral Parade
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Follow The Music— Second Line
Michael P. Smith
Avenue Steppers First Annual Parade
Michael P. Smith — 69
Michael P. Smith and Jazz Fest P H O T O G R A P H Y S T O R Y
COURTESY OF THE HISTORIC NEW ORLEANS COLLECTION
G R E G VA N DY
This amazing photo is just one of the many
the best music festivals in the world. In ret-
for documenting New Irma Thomas Orleans
that inspired me to not only go to Jazz Fest
rospect it was a no brainer: take the coun-
social club parades and jazz funerals, neigh-
the first time, but to live in New Orleans for
try’s cradle of jazz, blues, gospel, and all
borhood Mardi Gras traditions, spiritual
a short time. Smith’s black & whites adorn
the roots culture of a place like NOLA and
church ceremonies, and many of the city
my walls at home, and his images represent
you have an incredible amount of wealth
and state’s renowned jazz, blues rhythm
a magic place in time when Jazz Fest not only
to celebrate traditional American music-
and blues, and gospel musicians. He was
revived careers of the many, many great
by local musicians. And what a wealth it
also one of the founders of the renowned
local players of New Orleans, but proved
was, and is today.
club, Tipatina’s.
that New Orleans music and culture was a
Michael P. Smith (1937–2008) was born into
“The camera is an extension of my knowl-
viable economic asset, outside of the typical
New Orleans society (read “white society”
edge of the inner workings of the commu-
Bourbon street vacation. It showcased the
and it’s segregated social orders of the day-
nity that I have come to understand over a
amazing tradition of Louisiana music in a
his father was a member of Rex) but every-
twenty-five year period. It’s my art, my sub-
respectful way and organized a local scene
thing changed when he went to work as
jective view of the world I’m experiencing”,
that had, mostly dried up. And Michael P.
Tulane‘s jazz archive‘s staff photographer in
said Michael in 1993. Smith‘s work is represented through five
Smith was there to document it all.
the 1960s. He heard hours and hours of the
It seems like most things that become
music that had been created in New Orleans’
photography books including Spirit World:
iconic have a classic photographer which
bars and brothels, and he was hooked.
Pattern in the Expressive Folk Culture of
makes them so. A lasting legacy of pictures
“He paid attention when many locals took
African American New Orleans; A Joyful
that tell a million stories with images that
that culture for granted or ignored it,” says
Noise: A Celebration of New Orleans Music;
capture a certain timeless essence of a cul-
Bruce Raeburn, the archive’s curator.
New Orleans Jazz Fest: A Pictorial History;
ture, event, or even a brand or company.
Around that time, Smith met Matthew
Jazz Fest Memories; and Mardi Gras Indians.
The Sabol family did that for the National
Herron, a photographer with the Black Star
The latter is a visual and sociological history
Football League in the 60’s and 70’s, Charles
agency in New Orleans, and became his assis-
of the unique masking and musical tradi-
Peterson did it for Sub Pop and Seattle’s
tant. It was Paul Barbarin‘s funeral in 1969
tions still alive in New Orleans‘ older black
music scene in the 90’s, and Michael P. Smith
that Smith began his photographic explo-
neighborhoods.
did it for the New Orleans Jazz & Heritage
ration, abandoning the realm of his youth.
Smith photographed at ever y New Orleans Jazz & Heritage Festival from its
Festival from it’s inception.
“I have friends in that privileged world,
Jazz Fest had a modest start – if you call the
but haven’t had much interest in the soci-
inception in 1970 until his retirement in
greatest gospel singer of all-time, Mahalia
ety I grew up in since discovering the folk
2004, when he was honored with a major
Jackson returning to her hometown and
community of New Orleans, a side of town I
grandstand exhibition and photo kiosks
second-lining (and singing!) with the Eureka
had never known that struck me as the real
placed around the fairgrounds. This stands
Brass Band a “modest start”, but in terms
heart of the city,” Smith said in the interview.
as one of the greatest Jazz Fest of all-times
of size it was a mere infant. George Wein
Michael P. Smith went on to become
because Michael’s beautiful prints were
considered duplicating his Newport Jazz &
an award-winning professional freelance
everywhere you looked and created an
Folk Festival formula in New Orleans and
photographer and spent a lifetime captur-
impressive context, and in my humble opin-
it worked. By the late 70’s, and certainly in
ing the music, culture and folk-life of New
ion, Smith’s photos should be considered
the 1980’s, Jazz Fest was considered one of
Orleans and Louisiana. He was well known
a permanent installation.
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New Orleans Jazz & Heritage Festival
Michael P. Smith
"Valley Of Silent Men" Parade At Jazz Fest"
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BRETT MILAND
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ew Orleans is a party that never
Peter Street as the lyric “Watching some
ends— and you can’t have a
good friends screaming, let me out!” came
start liking something else in life— believe me, I know a lot of people like that. But New
party without music! The cul-
over the speakers).
Orleans jazz has always sounded like a lot of
tural blending that produced
When the band arrived, one of the first
different bands, there was Freddie Keppard
Louisiana’s unique cuisine has
to appear was clarinetist Charlie Gabriel—
and there was Bunk Johnson. Sometimes
also given us some of America’s most col-
at 84 the senior member and a living link
they think of New Orleans music as just
orful and distinctive tunes. Many of these
with New Orleans history. So it was both
one thing, and it never was. And that both-
songs pay homage to the religion and magic
fitting and a little surreal that he led the
ers me, the idea that your pace would just
of New Orleans, while others discuss the
band playing Oh! You Pretty Things as a
stop and you’d never get to hear anything
historical events that shaped the Crescent
funeral dirge. A cathartic celebration was
new. You have to remember that even a
City. If you want to understand the Big
had by all, and the music (if you could get
song like Bourbon Street Parade wasn’t
Easy, you’ll need to learn something about
through the crowds to hear it) was undeni-
always a standard, things evolve over time.”
its soundtrack.
ably great. But the question, voiced by many
The Bowie salute was one of many pro-
Unlike many music clubs, Preservation
at the time, was whether saluting a rock
gressive moves that the band has made
Hall (726 St. Peter Street) doesn’t offer a bar,
star— even a beloved and widely influen-
since bassist/tuba player Jaffe’s been in
reservations, or air conditioning. Despite
tial rock star— is what New Orleans’ most
charge. He originally joined the band after the death of his father Allan in 1987 (Allan
this, crowds begin lining up outside the door
venerable jazz institution should be doing.
well before the 8 p.m. shows. Once you get
“I couldn’t imagine us not doing it,” says
in turn began running the Hall in 1961), and
inside and hear the Preservation Hall Jazz
Ben Jaffe, the second-generation leader
gradually moved into a leadership role over
Band playing New Orleans jazz standards,
who’s guided the band to a new era. “I’m glad
the next decade. “To put things in per-
you’ll understand why. Classically trained
to be part of an operation that is continu-
spective, when I joined as a member of the
young musicians play alongside old-tim-
ally growing and maturing, and part of that
band, Willie and Percy Humphrey were
ers who learned at the feet of some of the
maturing is acknowledging great artists
still members of the band. After Willie and
city’s jazz legends. “What we’re doing is part
like Bowie who touched all of us, directly
then Percy passed away, we were a band
of a continuum,” says Director Benjamin
or indirectly. I can’t begin to think of all
without a leader. Then there was Wendell
Jaffee, “part of a tradition that is now in
the little lines that connect Preservation
Brunious [now leading his own band] who
its fifth and sixth generation.” One of the
Hall to Bowie— there was [friend and col-
was next in line for that chair, and Narvin
city’s most popular musical destinations,
laborator] Iggy Pop coming from Detroit,
Kimball. And when Narvin passed some-
Preservation Hall is helping to ensure that
him and the MC5 hanging out with the
thing interesting happened which got less
New Orleans jazz continues on for many
guys who’d played with Miles Davis. And
attention, which was the passing of the
generation to come.” If there’s one thing
there’s the costumes and theatricality,
African-American banjo tradition— people
you don’t expect to see at Preservation
which is a New Orleans thing. We did that
have learned the instrument later in life,
Hall, it’s David Bowie— hundreds of David
with a permit for 75 people— that’s what
but now there wasn’t an unbroken line of
Bowies in fact, in every incarnation from
we expected, before word got around and
banjo players.”
Ziggy Stardust on up to Lazarus. That was
people started flying in from all over the
“So there was a lot of soul searching and
the scene last year when the Hall hosted
country. This is how Bowie wanted to be
what happened in the middle of this was
a second line in Bowie’s honor— arguably
immortalized— not with flowers in some
Katrina,” he says. “And what happened was
the greatest step beyond jazz tradition it’s
apartment, but with theatrics and music.”
that everything in my mind became crystal
ever taken. The crowds jammed the streets
And if the purists are going to gripe, let
clear. The idea that you can’t be something
outside the Hall like it was a big rock show,
’em. As Jaffe points out, they always have
you’re not; that’s not being true to your
leader Ben Jaffe obliged them by pointing
in the past. “I understand people having a
art form. The music that Willie and Percy
speakers outside the balcony (and I saw
certain reaction to our music, and those are
played was different from what Jelly Roll
some accidental humor when one poor
people who’ve grown up with it and don’t
Morton played, which was different from
soul tried to leave a parking space on St.
want it to change. A lot of times you don’t
what Buddy Bolden played. So it’s not like
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“I wanted the sound to be dirty and gritty, and I was using words like bombastic and off the rails— crazy shit. Their music is joyful and rambunctious and to me, that’s punk.” T O A S T
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anything gets diluted— with every gener-
band had ever done a song from the non–
ation, the music becomes bigger.”
New Orleans rock repertoire; its singer
that made you go home and start pulling out your albums. It was our first non–
“My biggest fear for New Orleans isn’t
Clint Maedgen was also one of the first
New Orleans rock song but my dad had
for the music, because that’s a reflection
band members with a foot in the rock and
his Beatles albums, and he always talked
of our community. I’m more fearful of the
performance art worlds. A song choice like
about doing When I’m 64— he wanted to
loss of cultural centers and not being able
Complicated Life opened the Hall to a dif-
make it When I’m 84 and have Percy sing
to protect those neighborhoods— when you
ferent world of music, bridging to projects
it. And Complicated Life had that beauti-
can’t have a parade in the Treme, that’s a
like the 2010 album Preservation where they
ful film of Clint delivering food to us in the
problem— and when New Orleans becomes
were joined by an all-star cast including
Quarter. I think that came at a time when
unaffordable for the artists, the people who
Tom Waits, Ani DiFranco and My Morning
everybody needed it.”
give it a flavor. But in terms of our musical
Jacket’s Jim James, who’d become a fre-
The real payoff in all this has been the PHJB’s rebirth as a recording band. The
future? I’m not worried about that at all,
quent guest and collaborator. Some of those
man. Not with all the young brass bands
guests sat in with the band for a Carnegie
Preservation album had its ups and downs—
I’m hearing now.”
Hall anniversary show the following year,
Waits’ take on Danny Barker’s Tootie Ma Is
The PHJB actually began its reboot-
and again at Jazz Fest in 2012.
a Big Fine Thing is quite rightly the track
ing before Katrina struck; one decisive
Going back to the Kinks song, Jaffe says,
everybody knows— but it never felt like a
move was covering the Ray Davies song
“I was really keen on finding a song for Clint
forced crossover move. “It happened at
Complicated Life. Musically speaking, it
to sing, and I didn’t want it to be a New
a time [after Katrina] when people were
wasn’t that huge a step— as recorded on the
Orleans jazz standard— but I didn’t want
bending over backward to make themselves
Kinks’ Muswell Hillbillies it was already an
to do some kitschy Top 40 song either. The
available, and a lot of projects were being
homage to Dixieland jazz, and Davies was
Kinks started coming into focus because
done. And I didn’t want to make a medio-
even living in the Quarter at the time of the
of [Davies’] presence in New Orleans; you’d
cre album, I wanted to make an amazing
Hall version. But it was the first time the
hear that someone had run into him and
album, and I didn’t realize at the time how
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important that album was to me. It was the
also a far more eclectic album than That’s
first time we came up with a concept and
It!, with the material (mostly written by
tried it out, and the concept was to bring
Jaffe and Gabriel) taking their recent Cuba
20 people to Preservation Hall to record
trip as a jumping-off point. It goes further
with the band. If anyone asked to have a
than that, though: There’s funk, there’s
track sent to New York, we just said no. It
classic New Orleans R&B, there’s a touch
had to be people who weren’t frightened
of pre-fusion Miles Davis. And there’s the
of working in a live setting, and having two
advance single Santiago, the kind of song
takes to get it right.”
that’s infectious enough to loop in the non-
It’s on the two recent studio albums—
jazz audience— indeed, Rolling Stone has
2013’s That’s It! and the new So It Is (both
already run a feature touting Sitek’s pres-
on Sony/Legacy)— where the current band
ence and that song in particular.
has really blossomed. Both are the first
Sitek was the album’s wild card: Aside
all-original albums in the PHJB’s history,
from being the guitarist in TV on the Radio,
“So many more people are going to experience us, that’s what I’m predicting. They’ll find out that we’re a New Orleans jazz band, then they’ll go back and find out what that means.” and the challenge of adding new mate-
he’s produced the Yeah Yeah Yeahs and
rial to the repertoire lights an obvious fire
actress Scarlett Johansson, and remixed
under the band. Notably both albums were
Beck and Nine Inch Nails, none of which
done with rock-oriented producers— Jim
gets anywhere near New Orleans jazz.
James co-produced That’s It! with Jaffe,
But as far as Sitek was concerned, he was
and TV on the Radio member Dave Sitek is
making a punk record. “That’s really the
the full producer on So It Is. That doesn’t
way I thought of it,” he said in a separate
mean there’s any rock in the mix, but it
interview. “I wanted the sound to be dirty
does mean the albums sound different:
and gritty, and I was using words like bom-
Instead of being presented as museum
bastic and off the rails— crazy shit. Their
pieces they kick out of the speakers like
music is joyful and rambunctious and to
any vivid, modern recording.
me, that’s punk.” Instead of recording at
Three band members make their debut
the Hall, they rehearsed it there and then
on the new album, with pianist Kyle Roussel,
did the tracking at one of Sitek’s favorite
trumpeter Branden Lewis and drummer
studios, the Sonic Ranch in El Paso.
Walter Harris joining the old(er) guard of
In some respects Sitek’s production was
Jaffe, Gabriel, Maedgen and trombonist
quite traditional: All the performances are
Ronell Johnson (Roussel replaces Rickie
live, with no overdubs beyond voices and
Monie who was another link to Hall history,
handclaps, and no flying-in of solos. “Yeah,
having replaced Sweet Emma Barrett). It’s
those guys were ready to kill me because I
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made them play everything 16 or 17 times.”
a genesis of our music. It’s been brewing
His personal tweaks happened largely in
since I was a kid, listening to the midnight
the recording process. “They were fairly
reggae show on WWOZ. Hearing dub and
certain they wanted to try something new.
saying, ‘Wow, what is this?’— and then going
But what I said was, ‘Let’s try something
to Jazz Fest and being exposed to soca
really old, like recording you guys in the
and King Sunny Ade. We’re lucky to have
round.’ I was trying to capture the instru-
’OZ in our backyard, but most stations are
ments and the way they interact with each
afraid to go that eclectic. And now some
other— it was really about getting up close
pretty influential stations are picking up
and walking around in front of those horns
on Santiago as a single, and we’ll be play-
incessantly. If you have a mike on the trum-
ing the main stage at Coachella for the first
pet, can you make it so loud you catch the
time. So many more people are going to
space around it? I wanted the brass to
experience us, that’s what I’m predicting.
bounce off the wall— if it frightens me
They’ll find out that we’re a New Orleans
and it frightens the walls, let it frighten
jazz band, then they’ll go back and find out
the microphones as well. Rather than put
what that means. And if we lose the more
a lot of baffles between them, just let it
traditional fans, so did Miles Davis when
all fly around. Only a maniac would do it
he came out with Kind of Blue.”
that way, but I wanted you to press play
And if the mass audience can get its head
and have it be right in your fucking face.”
around a New Orleans jazz album, so much
Jaffe has every expectation that the album
the better. “Never mind their heads,” Jaffe
will get the Hall’s music out to newer and
shoots back. “I’m hoping they can get their
bigger audiences. “This record is really
booties around it.”
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TROMBONE SHORTY GOT
TALLER
P H O T O G R A P H Y
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JONATH A N M A NNION
S T O R Y
CEM KUROSMAN
rombone Shorty’s new album opens with a dirge, but if you think the beloved bandleader, singer, songwriter and horn-blower born Troy Andrews came here to mourn,
you got it all wrong. That bit of beautiful New Orleans soul— Laveau Dirge No. 1, named after one of the city’s most famous voodoo queens—shows off our host’s roots before Parking Lot Symphony branches out wildly, wonderfully, funkily across 12 diverse cuts.
True to its title, this album contains multitudes of sound—from brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swagger—and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Andrews says, “Music brings unity.” As for why it’s taken Andrews so long to follow 2013’s Raphael Saadiq-produced Say That to Say This, the man simply says, “I didn’t realize so much time passed. Some artists don’t work until they put a record out but I never stopped going.” Truly. In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown, Dierks Bentley, and Mark Ronson;
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to transport the listener to the center of the jumpingest jazz-soul concert hall that never was. The story there is almost too good. The session band—guitarist Pete Murano, s a x men Da n O e st reicher a nd BK Jackson, and drummer Joey Peebles with Dumpstaphunk’s Tony Hall in for Orleans Avenue bassist Mike Bass-Bailey—were in the studio to lay down It Ain’t No Use. Hall even had the vintage acoustic he bought from Nocentelli years ago, which was used on the original Meters session. On the way to the bathroom, Andrews saw Nocentelli coming out of a different tracking room: it was meant to be. But that’s not unusual for a man raised in one of the Tremé’s most musical families. Andrews got his name when he picked up his instrument at four (“My parents pushed me toward trombone because they didn’t opened tours for Daryl Hall & John Oates
him in a room, all alone, back in New
need another trumpet player,” he laughs). By
and Red Hot Chili Peppers; appeared in
Orleans. “I had two weeks at home so I
eight, he led his own band in parades, halls
Foo Fighters’ Sonic Highways documentary
went to the studio and set up the ‘play-
and even bars: “They’d have to lock the door
series; voiced the iconic sound of the adult
ground,’” he recalls. “I had everything in
so the police couldn’t come in.” Promoters
characters in The Peanuts Movie; inher-
a circle: tuba, trombone, trumpet, key-
would try to hand money to his older cousins, but they’d kindly redirect them to the
ited the esteemed annual fest-closing set
board, Fender Rhodes, Wurly, B3 organ,
at the New Orleans Jazz & Heritage Festival
guitar, bass, drums—and me buried in the
boy. In his teens, Andrews played shows
in the tradition of Crescent City greats
middle.” He recorded an album’s worth of
abroad with the Neville Brothers. Fresh out of high school (New Orleans Center for
like the Neville Brothers and Professor
ideas and then, well, walked away for a year.
Longhair; and released Trombone Shorty,
Not because he was too busy, but because
Creative Arts) he joined Lenny Kravitz’ band.
a children’s book about his life that was
he wanted to hit the road and see how the
Across that time, three Trombone Shorty
named a Caldecott Honor Book in 2016.
music changed on him. When Andrews came
albums and many collaborations since,
Adding to that legacy, his Blue Note
back with a full band, the songs came to life.
Andrews nurtured a voracious appetite
Records debut Parking Lot Symphony finds
Take the album’s two covers, a pair of
for all types of music—a phenomenon on
Andrews teamed with Grammy-nominated
NOLA deep cuts: there’s Here Comes the
fluid display with Parking Lot Symphony.
producer Chris Seefried (Andra Day, Fitz
Girls, a 1970 Allen Toussaint song originally
On Familiar, co-written by Aloe Blacc, they
and the Tantrums) and an unexpected
recorded by Ernie K-Doe that here (with Ivan
practically mint a new genre (trap-funk?)
array of cowriters and players includ-
Neville on piano) sounds bawdy and regal,
while Andrews channels his inner R. Kelly
ing members of Edward Sharpe & The
like something from a current Bruno Mars
to spit game at an old flame. Meanwhile,
Magnetic Zeros, The Meters, Better Than
album; and The Meters’ lovesick It Ain’t No
the instrumental Tripped Out Slim (the
Ezra, and Dumpstaphunk. Considering
Use, which swirls a vintage R&B vibe with
nickname of a family friend who recently
Andrews’ relentless schedule, it’s all the
resonant choir vocals and upbeat guitar
passed) bends echoes of the Pink Panther
more surprising that this LP began with
from The Meters’ Leo Nocentelli himself
theme into something fit for James Brown to
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strut to. And if you listen closely to Where It
N E W
surface, as it is about moving on from a
At?, written with Better Than Ezra’s Kevin
broken heart. And the shuffling, bluesy
Griffin, you may even hear a little Y2K pop.
No Good Time reminds us, with a world-
“I know it wasn’t cool to listen to *NSYNC
weary smile, that “nobody never learned
or Britney Spears in high school,” says
nothin’ from no good time.”
Andrews, “but those bass lines and mel-
But Andrews is clear that this isn’t some
odies are funky.” They pair astonishingly
kind of breakup record. “It’s a life record,”
well with all the Earth, Wind & Fire that
he says, “about prevailing no matter what
bubbles beneath these songs.
type of roadblock is in front of you.” That
It’s worth noting that Andrews’ vocals
message is clearest on Dirty Water, where
sound better than ever (he credits Seefried
over an easy groove, Andrews adopts a
for that), because Parking Lot Symphony
soft falsetto to address just about anyone
might be the man’s most heartfelt offering
going through it—personal, political, what-
yet. The breezy title track, which Andrews
ever. There’s a lot of hope turning to doubt,”
wrote with Alex Ebert (Edward Sharpe &
he coos. I’ve got something to say to them /
The Magnetic Zeros), is as much about
You don’t know what you’re talking about
walking the Tremé, being uplifted by
/ When you believe in love, it all works out.
the music that seems to seep from every
Amen. Now let the horns play us out.
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The Paramount Theater P H O T O G R A P H Y S T O R Y
ARA TRASK
ERIC L. FLOM AND JOHN CALDBICK
What is now the Paramount Theater at 9th Avenue and Pine Street in downtown Seattle started life in 1928 as the Seattle Theatre, built to showcase films and provide a venue for the fading but still-popular vaudeville shows of the day. The first talkie had been released the year before, and the Depression was still over the horizon. The popularity of movies created a major industry, and a handful of big studios ran everything from the production and distribution of films to the ownership or control of many of the venues in which they were shown. This was an extremely lucrative vertical monopoly, and it would be another 20 years before the Supreme Court forced the studios to divest themselves of their interests in many of the nation’s leading theaters. Until then, the moguls could well afford to build or lease elaborate venues in which to display their products. The Seattle Theatre would become the newest addition to a chain operated by the Fox West Coast Theatres Corporation in association with Paramount’s Publix Theatre chain. The project was inspired by Seattle businessman L. N. Rosenbaum, who had recently returned to the Puget Sound area after spending several years in New York.
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He and his East Coast connections formed
new house, indulged an occasional burst of
lighting scheme. Management claimed that
the Paramount Building Corporation, with
the exotic by incorporating a few acces-
portions of the ceiling were suspended
New York banker W. S. Hammond serving
sories of East Indian origin. Many of these
from the actual roof, a design element pop-
as president, and together they raised most
pieces found their way into the grand foyer,
ular at the time in Europe, but which had yet to catch on in America. This gave the
of the estimated $3 million in capital nec-
the ornate appearance of which was soft-
essary to build the new theater.
ened by a variety of wall hangings and period
house, they claimed, “an artful and charm-
Despite the presence in Seattle of
furniture, including high-backed settees,
ing effect of space and freedom”
Benjamin Marcus Priteca (1889-1971), a
chairs, and corner pieces. Similar furnish-
Rose, gold, and ivory were the predominant
nationally known movie-palace archi-
ings were liberally distributed through-
colors throughout, with the walls coated
tect, the Publix Theatre chain, which was
out the other common areas of the theater.
with nearly three tons of white, lead-based
responsible to the venue’s design, retained
Unique to the venue were the separate
paint, portions of which were highlighted
the Chicago architectural firm of Rapp &
lobby areas as one ascended the stair-
with gold leaf. A total of 200 packs of gold
Rapp. They patterned the Seattle Theatre
case to the upper levels, as well as a grand
leaf— at $14 each— were applied by hand
in part on the firm’s design of New York’s
lounge located below the main entrance.
throughout the house. The cost for this
Paramount Theatre, which had opened
A general feeling of openness was main-
detail work paled in comparison to the
only a short time before.
tained throughout the house, but these
tab for drapes and chandeliers, said to have
The dominant interior-design program
separate lobbies were dotted with smaller
been in excess of $200,000. The two large
of the new theater was Beaux-Arts (also
alcoves. Even with the theater’s official
chandeliers in the foyer (still there today)
called French Renaissance and rococo, or
seating capacity of 3,054, these intimate
reportedly cost $5,000 apiece, and originally
Late Baroque), reminiscent of the Palace
spaces provided places where couples or
contained some 52,000 individual crystals.
of Versailles, mixed with traditional Italian
small groups of theatergoers could retreat
As the opening-night bill demonstrated,
influences. The walls of the four-tiered
with a degree of privacy.
the Seattle Theatre was fully equipped
lobby featured ornate plaster moldings and
No expense was spared in creating an
to present combination shows— enter-
spectacular chandeliers that illuminated
impressive ambiance for the new Seattle
tainment that drew both from the stage
elaborate ironwork and wall medallions
Theatre. Its proscenium arch spanned 54
and the screen as part of a single weekly
encrusted with gold leaf. Designer Morris
feet and was 32 feet high, and the ceiling of
offering. For example, the venue was con-
Greenberg of New York, who was charged
the auditorium was specially designed with
structed with a flying stage (one of only
with obtaining rugs and tapestries for the
hollow areas to incorporate a distinctive
three in the United States at the time) that
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allowed the stage area to be altered based
neighborhood of $46,500, this organ also
for the presentation of specific movies or
on the needs of the particular live produc-
was specially decorated in white and gold
other events. When it fully reopened, the
tion. Backstage were 41 modern dressing
to match the theater’s interior, and could
elaborate stage shows were gone; only films
rooms spread over several floors (each with
be raised to the stage or lowered to the
and organ music would be offered to give
its own shower), with elevator service to
orchestra pit on a special lift. Such organs
the public brief respite from the rigors of
the stage. These rooms were in addition
were once a common feature in nearly every
those hard times.
to employees’ and artists’ common areas,
significant movie house, but most venues
The Paramount closed for long periods in
such as a green room and a separate card
got rid of them shortly after the arrival of
the 1960s, including a time in 1965 during
room for theater staff.
sound film in the late 1920s, as they were no
which nine magnificent paintings, still in
The stage lighting of the new theater was
longer necessary for film accompaniment
their original gilded frames, were stolen
top-notch, and it was rivaled by the projec-
and were costly to maintain. (Most were
from the lobby. One Friday night in 1967,
tion equipment for movie offerings, among
sold to churches or private collectors.) Not
only 13 people came to see Gone with the
the best in the city. The house projectionist
so at the Paramount. Although most of the
Wind— a poignant demonstration of the
also could make use of an elaborate back-
theater’s original furnishings, sculptures,
theatre’s decline. However, The Paramount
drop-projection system to create the illu-
rugs, and tapestries are now long gone, the
limped along as a movie house until 1971
sion of clouds, stars, rainbows, snow, and
organ remains, kept in operating condition
Ida Cole, a former Microsoft executive, who purchased the Paramount Theatre on
other effects during stage presentations.
with parts scrounged from other instru-
Where the Seattle really stood apart from
ments around the country.
February 8, 1993. She vowed to restore the
its competition, however, was in the nature
Restored to its former glory in the late
venue, and she retained the heavyweight
of its musical accompaniment. In addition
1990s, the mighty Wurlitzer is regularly fea-
architectural firm NBBJ to do the design
to having some of the finest acoustics of
tured as part of the Paramount’s ongoing
and Sellen Construction to do the work.
any local theater, the Seattle boasted four
series, Silent Movie Mondays, now spon-
In 1994 Cole and others took over a previ-
Knabe grand pianos, reportedly the larg-
sored by Trader Joe’s and held several nights
ously established non-profit, the Seattle
est installation of pianos anywhere out-
each year. Played now by organist Jim Riggs,
Landmark Association, to spearhead the
side of the Metropolitan Opera House in
the instrument greatly enhances the show-
project and sought help from both govern-
New York. Three of these instruments were
ing of these classic silents and helps recap-
mental and private entities.
made of finished mahogany— a concert
ture the glory days of early cinema.
The work, costing roughly $37 million,
grand piano in the orchestra pit and two
The Seattle Theatre didn’t remain so for
was extensive. Space was purchased from
smaller grand pianos onstage. The fourth
long, and on March 14, 1930, after only two
an adjoining land owner and the rear of the
was a Knabe Ampico (Louis XV version)
years in business, its name was changed
building expanded to provide more room
player piano, specially finished in gold and
to the Paramount Theatre in conformity
backstage, including a loading dock for sets
ivory to match the Seattle’s interior décor.
with the Publix Theatre chain’s policy of
and equipment. (What was once considered
It was situated in the Salon de Musique on
giving the grandest of its theaters in each
a large and state-of- the-art backstage
the mezzanine floor, and the special dec-
city that name (there were to be a total of
system was viewed 60 years later as out-
orations were done in Seattle at the local
44 Paramount Theatres across the country).
dated and cramped.) Aiming for flexibility,
Knabe studios. This custom Knabe, after
It continued to offer a mix of movies, plays,
the new owner later installed an ingenious
being sold and removed in 1967, was loaned
and vaudeville, but the Great Depression
electric system that allows the seating area of the theater to be reconfigured. Costing
back in 1998 and is today located in the
was underway, and many could no longer
lounge area just above the foyer.
afford even the moderate cost of an eve-
$5 million and having 300,000 parts, the
The Knabe pianos were indeed impres-
ning out at the theater. In June 1931 the
system divides the theater’s floor into 64
sive, but not as impressive as the theater’s
Paramount was forced to temporarily sus-
moving sections which can be configured
massive Wurlitzer 4/20 Publix No. 1 organ,
pend regular operations. From then until
in a multitude of ways. The first half of the
reportedly the largest instrument of its
October 1932, the theater would be closed
floor can be elevated using electric screw
kind when it was installed. Costing in the
for days or weeks at a time, then opened
jacks to a height above the second half.
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Seats can be stowed and the entire floor
Firmly back on its feet, the Paramount
Theatre. With excellent care and man-
can be raised to stage level, or each sec-
throughout the 1990s brought to its stage
agement, the Paramount today continues
tion can be raised to different heights. The
a steady program of Broadway musicals,
to be a destination for Seattle theatergo-
system, which is computer controlled, was
concerts, comedians, and other entertain-
ers, and is poised to fulfill the prophecy
completed just one day before its first use.
ments, including, in 1999, a performance by
of one who witnessed its opening in 1928.
The new, expanded, and refurbished
the Seattle Ice Theatre that required most
Everhardt Armstrong, then theater critic
Paramount reopened on March 16, 1995,
of the regular seats to be tucked beneath
for the Seattle Post-Intelligencer, mused
with a touring production of the hit musi-
the floor, which was then covered with a
on that occasion:
cal Miss Saigon. During the remainder
two-inch-thick slab of smooth ice. In 1998,
“Many modern theatres, planned with
of the 1995-1996 season, the Key Bank-
the family of Dick Schrum (1933-1994), who
a view to presenting entertainment for
sponsored Broadway at the Paramount
had been instrumental in the renovation
the masses, possess a surface glitter— the
Series brought productions of the musicals
of the theater’s mighty Wurlitzer and had
glamour of gilt and the shimmer of osten-
West Side Story, The Phantom of the Opera,
purchased the Paramount’s Knabe Ampico
tatious hangings— but they seem rococo,
the Pointer Sisters in Ain’t Misbehavin’, Kiss
piano in the 1960s, allowed the piano’s return
impermanent, ephemeral, built for a short
of the Spiderwoman, and How to Succeed
to its location just above the foyer in what
life, to be replaced in future decades by
in Business Without Really Trying. The
was originally called the Salon de Musique.
structures still more ornate. The Seattle,
season also offered one dramatic produc-
No expense was spared in creating an
one senses, has been built to endure.”
tion, An Inspector Calls.
impressive ambiance for the new Seattle
And so, with a lot of help, it has.
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Pacific Northwest Ballet: Emergence P H O T O G R A P H Y S T O R Y
ANGELA STERLING
DEAN SPEER
Many choreographers seem to feel compelled to make a bug piece. From those on a grand scale perhaps tackling cosmic issues to those that examine what’s under a Petri dish. One of the most well-known and iconic is Jerome Robbins’ The Cage which Pacific Northwest Ballet has performed in more than one repertory program over the years. Crystal Pite brings a Canadian sensibility to her large ensemble work, Emergence, which premiered at PNB in 2016, originally commissioned by Artistic Director Karen Kain for the National Ballet of Canada, based in Toronto. Raised in Victoria, British Columbia and first trained and performed as a dancer in classical ballet before changing to the modern dance idiom, Pite revisits her ballet roots but redefines them and creates her own insect movement vocabulary— of shoulder twitches and Graham-like torso contractions and releases, particularly for the men. Women stab and bourée to the floor and air with their pointes— used more as weapons than as dainty ethereal instruments.
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Pite revisits her ballet roots but redefines them and creates her own insect movement vocabulary
The great visual artist Georgia O'Keeffe
American popular science theorist Steven
frequently used the insides of flowers as
Johnson and considering parallels between
her subjects, and here we get the inside
the social organization of bees and the
of what suggests itself to be a wasp nest.
hierarchical nature of classical ballet com-
Swarming indeed, dancer bugs enter and
panies. Johnson’s statement that ‘simple
exit through the upstage nest hole, inter-
agents following simple rules could gener-
act in small groups or drones [a real nest
ate amazingly complex structures’ became
would most likely have only one female] and
a touchstone for the piece. Sometimes frag-
buzz by the dancers counting under their
mented and gestural, with traces of the
collective breath but, as a whole, aurally
isolation and popping techniques of hip
making a humming hive.
hop, Pite’s choreographic method was a
A riveting dark-hued work that casts
catalyst for change in the dancer’s bodies.
a swarming, scurrying group of dancers,
The entire ensemble is impressive, espe-
insect-like, in an eerily subterranean uni-
cially the featured artists: Joshua Grant and
verse, Emergence dramatizes through its
Rachel Foster in the Prologue; Lindsi Dec
mesmerizing choreographic attack the
and Batkhurel Bold’s pas de deux, and the
ways in which the instinct for creating
ever-amazing Andrew Bartee as the Bee
social forms seems hard-wired into life
Man. This is clearly a work that the com-
itself. Inspiration for the work came from
pany enjoyed doing and to which the audi-
reading Emergence: The Connected Lives
ence responded accordingly in standing
of Ants, Brains, Cities and Software by
ovation at each performance.
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