Podcast appearances and mentions of Mardi Gras Indians

"The things that normal people do to feel good, if you want to be excellent, you can't do that those things." Welcome Jason Ricci to The Mark Howley Show, a world renowned, legendary harmonica player based out of New Orleans. We discuss many topics on the podcast today including his rise to excellence, discovering his bisexuality among a hetero dominant music genre, a long road to sobriety, his passion for harm reduction within sober communities, and his unique life perspective. To mention just two of his many accolades. Ricci was named "Best Harmonica Player" at the 2010 Blues Music Awards. In February 2015, Ricci played at the Rock and Roll Hall of Fame with the Paul Shaffer Band, Tom Morello and Zac Brown to induct The Paul Butterfield Blues Band. Jason brings an authenticity that you don't find in many people and that on-fire contagious passion for music. STICK AROUND! Ricci performs a powerful "Prayer Song" at the end of our interview that was written by the Mardi Gras Indians to expressed their pain and celebration of being freed from slavery. Check out his website to see his 2025 touring schedule and more music. https://www.jasonriccimusic.com/

Founding Red Rockers' bassist and NY Dolls manager Darren Hill returns with Oley Sassone, the SexDog guitarist and director of the Rockers' MTV debut, "China." While the hit video elevated the band to new career heights, touring with U2 and other top groups, it was also the pivotal achievement for Oley, propelling him to a career in L.A., where he rubbed elbows with James Cameron, Steven Soderbergh, and Marvel creator Stan Lee. Oley went on to direct over 100 music videos as well as numerous TV shows and films, including "Xena: Warrior Princess," "Hercules," and the controversial Roger Corman production of "The Fantastic Four." Tonight Darren and Oley return to their dive bar roots as they get down and dirty with the Troubled Men. Topics include the Milan Bar, deportations, a vow of silence, a wedding party, April Fool's Day, RFK Jr.'s toilet seat, a surprise tattoo, Pete Davidson, a methadone safe, a publishing mixup, Rummel H.S., super 8 movies, "A Hard Day's Night," "Pretty Baby," Sven Nykvist, the Swedish Film Institute, WYLD, the Glass House, the Dirty Dozen Brass Band, Mardi Gras Indians, directing commercials, an Annie Leibowitz cover photo, a spec production, an NYC publicist, an L.A. job offer, Bill Paxton, Richard Roundtree, an underground classic, Joseph Culp, the Contenders, RIP David Johansen, Gilbert Gottfried, and much more. Intro music: "Just Keeps Raining" by Styler/Coman Break and Outro Music: "Drerams Fade Away"  and "China" from "Good As Gold" by the Red Rockers Support the podcast: Paypal or Venmo Join the Patreon page here.  Shop for Troubled Men's T-shirts & tanks here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook Darren Hill Facebook Ten Pin Management Homepage Red Rockers Facebook Red Rockers Bandcamp POP Emporium Homepage Oley Sassone Facebook Doomed! The Untold Story of Roger Corman's "The Fantastic Four" Chapters (00:00:00) - Troubled Men: Back in the Lounge(00:00:53) - Louisiana lounges close down(00:03:16) - Don't Let Anyone Get Deported(00:07:05) - A Vow of Silent Silence(00:07:48) - Wedding Party With Glenn Hartman(00:09:03) - Manny Paco on His Birthday(00:09:25) - Crazy Texas Woman Chops Up Her Toilet Seat(00:12:35) - Have You Seen Elvis' Toilet Seats?(00:13:38) - milo on Trump's plan to cut the number of steps in Alcohol(00:15:13) - Can Pete Davidson Get A Tattoo?(00:18:43) - Pete from Social Distortion on Getting Tats(00:22:06) - Safe Room for Methadone Users(00:24:00) - Red Rockers Family Reunion(00:26:47) - Red Rockers(00:28:10) - Darren Hill on China(00:30:09) - Louisiana High School(00:33:14) - Martin Scorsese on Shooting Super 8 Films(00:35:54) - Adam Levine on Working With Cranston(00:40:06) - Oli Haden on Acting in a Punk Film(00:43:43) - Battle of the Drummers(00:46:26) - Troublemen Podcast(00:48:58) - Troubleman: Stickers for Illegal Aliens(00:49:38) - Olie Sasson on directing the Red Rockers(00:50:49) - "China"(00:55:38) - The Romantics(00:59:04) - The Romantics(01:01:22) - Roger Corman on The Kinks' Second Video(01:03:53) - Andrew Garfield on Writing His First Scriptment(01:06:13) - Roger Corman on Working With Bill Paxton(01:10:35) - Roger Corman on His 1994 Fantastic Four Movie(01:14:52) - Stan Lee on The Femazons ((01:17:34) - Stan Lee At The Red Rockers Reunion(01:20:23) - David Johansson At The Red Rockers(01:23:14) - Buster Poindexter in the Dark(01:24:59) - Troubled Men: Nine People(01:25:24) - Walking Through China

Exclusive interview with N.O. Mardi Gras Indian Council Assistant Director, Michael Farley, discussing the Super Sunday event and historical significance of the Mardi Gras Indians and information on a double murder in Pascagoula. 

It's Thursday and that means it's time to catch up on the week in politics with The Times-Picayune/The Advocate's editorial director and columnist, Stephanie Grace. Today we discuss new security protocols for parades and new legislation about parade-goer encampments. “A cultural revolution on wheels.” That's how the Krewe of Alla describes its Mardi Gras parade this year. Named in honor of Algiers, Louisiana, the 93-year-old New Orleans Krewe rolled this week, and at its helm were Gian Durand and James Carter, the krewe's first ever Black Queen and King. Durand and Carter spoke with WRKF's Karen Henderson about their  historic first.If you've ever woken up at dawn on Mardi Gras day and gone to see the Krewe of Skull and Bones in the Treme Neighborhood, then you might recognize Voodoo Queen Kalindah Laveaux blessing the morning. Or perhaps you recognize her from the Mardi Gras Indian tribe, the Yellow Pocahontas or for holding community rituals on Sundays with her snake in Congo Square. As a local New Orleanian and descendant of local legends, Queen Kalindah brings spiritualism and cultural traditions to the city, year round. She joins us to discuss  the spiritual underpinnings of Fat Tuesday, and give a drum performance alongside Lola Bolivar. ___Today's episode of Louisiana Considered was hosted by Bob Pavlovich. Our managing producer is Alana Schreiber; our contributing producers are Matt Bloom and Adam Vos; we receive production and technical support from Garrett Pittman and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon  and 7 p.m. It's available on Spotify, the NPR app, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

New Orleans, Louisiana is home to some of America's greatest musical traditions, and plays an outsized influence on the evolution of everything from jazz through to r&b, rock and funk. Today, the city is still legendary for its second line brass bands and brightly costumed Mardi Gras Indians. But if you've rolled through New Orleans on pretty much any night in the last 30 years, you've probably heard another sound—the clattering, booming, hip-shaking, chant-heavy roll of bounce, a form of hip-hop music, dance and culture unique to the Crescent City. Pulling from the national mainstream but remaking it the way that only New Orleans can, bounce has become a sonic touchstone for an entire generation of residents. For this Hip Deep edition, Afropop digs into the close-knit scene, talking to dancers, producers, MCs, and managers from over 30 years of bounce, all to explore the beat that drives New Orleans—and to find out what it means to the people who bring it to life. Produced by Sam Backer and Jessi Olsen. APWW #761

Welcome back to Festival Circuit: New Orleans. In episode 3, we're going to jazz fest! We'll look at how the festival started, hear from interviewees about standout performances, talk about the evolution of the festival itself, and of course, talk a bit about jazz fest food.  We spend some time in the Gospel Tent, dance with Mardi Gras Indians, and look at the explosive growth of the festival over the past 20 years. And of course, there's plenty of music.  This would have been the 51st jazz fest, and we all wish we could have been there. But this tribute to the festival and to New Orleans music helps us all feel a little more connected to live music and to this event that is truly one of a kind.  If you like the show, please subscribe and share, and leave a review. Thank you.  Festival Circuit is presented by Osiris Media. This series is Narrated and Produced by Rob Steinberg. Executive Producers are Christina Collins, Andrew Goodwin and RJ Bee, who also double duties as series writer and creator. Produced, Edited and Mixed by Matt Dwyer. Show logo by Liz Bee. The theme song is “JazzFest Time,” by Circus Mind. To check out more shows that help deepen the connection to music you love, please visit OsirisPod.com.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

New Orleans, Louisiana is home to some of America's greatest musical traditions, and plays an outsized influence on the evolution of everything from jazz through to r&b, rock and funk. Today, the city is still legendary for its second line brass bands and brightly costumed Mardi Gras Indians. But if you've rolled through New Orleans on pretty much any night in the last 30 years, you've probably heard another sound—the clattering, booming, hip-shaking, chant-heavy roll of bounce, a form of hip-hop music, dance and culture unique to the Crescent City. Pulling from the national mainstream but remaking it the way that only New Orleans can, bounce has become a sonic touchstone for an entire generation of residents. For this Hip Deep edition, Afropop digs into the close-knit scene, talking to dancers, producers, MCs, and managers from over 30 years of bounce, all to explore the beat that drives New Orleans—and to find out what it means to the people who bring it to life. Produced by Sam Backer and Jessi Olsen. APWW #761

Healing With Angelica Podcast With Special Guest Student Minister Willie Muhammad Episode: 95 Finding common ground: where understanding meets compromise for a harmonious future. On this episode student minister Willie Muhammad and I will be discussing the power of conflict resolution & how we can begin naturing healing within self and community just from having understanding with others through proactive dialogue and so much more! Guest BIO: Mr. ‭ ‬Muhammad ‭ ‬is ‭ ‬a ‭ ‬native ‭ ‬of ‭ ‬New ‭ ‬Orleans. ‭ ‬He graduated ‭ ‬from ‭ ‬Walter ‭ ‬L. ‭ ‬Cohen ‭ ‬High ‭ ‬School ‭ ‬and received ‭ ‬hi‭s bachelor's degree in Secondary ‬
Education from Xavier University. ‭He‬ ‭is‬ married ‭to‬ Sister ‭ ‬Michelle ‭ ‬Muhammad, ‭ ‬and ‭ ‬they ‭ ‬have ‭ ‬two beautiful daughters, Nandi and Azire. Mr. Muhammad is a gifted playwright. He received the August Wilson Award and has had some of his 
works such works as A Forced Family Tradition, A Black Tragedy and ‭ ‬Color Me Dead ‭ ‬performed. ‭ ‬He was also a member of the Black Drama Club while attending Xavier University. ‭He‬ has been honored ‭to‬ be one of the fellows ‭in‬ the Dr. Norman ‭ ‬Francis (the longest standing President of Xavier) Leadership Program. Each fellow was approved by Dr. Francis. Mr. Muhammad ‭is presently teaching History ‬and Social Studies on the secondary level at a local High School in New Orleans. Mr. ‭ ‬Muhammad ‭ ‬is ‭ ‬a ‭ ‬tireless ‭ ‬and ‭ ‬innovative ‭ ‬champion ‭ ‬to ‭ ‬the ‭ ‬cause ‭ ‬of ‭ ‬projecting positivity in his community. He founded and is the host of the online show, “I HAVE A ‭ ‬TESTIMONY”, ‭ ‬which ‭ ‬chronicles ‭ ‬the ‭ ‬life ‭ ‬and ‭ ‬wisdom ‭ ‬of ‭ ‬such ‭ ‬people ‭ ‬as ‭ ‬Rock Newman, Dr. Wesley Muhammad, Doug E. Fresh, Father Michael Pfleger, and many others. This successful program has become nationally recognized as a collection of contemporary historical facts rarely known to the broader public. 
Mr. Muhammad has done voice over for a Hip-Hop Album produced by New Orleans 
Jazz ‭ ‬Musician ‭ ‬Irving ‭ ‬Mayfield ‭ ‬titled, ‭ ‬“Supreme ‭ ‬Beings.” ‭ ‬He ‭ ‬has ‭ ‬developed ‭ ‬and 
spearheaded the Conflict Resolution program which has allowed him to present and conduct trainings in over 25 cities. 
He ‭ ‬is ‭ ‬continually ‭ ‬active ‭ ‬in ‭ ‬the ‭ ‬city ‭ ‬of ‭ ‬New ‭ ‬Orleans, ‭ ‬building ‭ ‬and ‭ ‬strengthening 
relationships ‭ ‬to ‭ ‬benefit ‭ ‬and ‭ ‬educate ‭ ‬citizens. ‭ ‬This ‭ ‬includes ‭ ‬his ‭ ‬outreach ‭ ‬program, Friendships ‭in‬ All Walks of Life, which has hosted many community leaders, such as Big Chief Tyrone Casby of the Mohawk Indians of the Mardi Gras Indians. ‭He recently ‬was honored by the Shriners of the Masonic Lodge of New Orleans, The Oriental Lodge. In‭ a step towards unity and friendship, Mr. Muhammad was named to the position as ‬the ‭ ‬first ‭ ‬ever, ‭ ‬Honorary ‭ ‬Lecturer ‭ ‬to ‭ ‬the ‭ ‬Shrine. ‭ ‬He ‭ ‬was ‭ ‬very ‭ ‬instrumental ‭ ‬in ‭ ‬the aftermath ‭of‬ Hurricane Katrina ‭in‬ helping the community survive and overcome the challenges presented by this monumental event. Mr. Muhammad worked with other activist who fought to see the law enforcement officers who injured and murder a family in the Danziger Bridge in the aftermath of Hurricane Katrina. Mr. Muhammad also served on the Advisory Board for the first female mayor of the city of New Orleans, Mayor Latoya Cantrell. Mr. Muhammad ‭is‬ available for interviews, community development consultation and lectures. He enjoys working in the arts with musicians and actors. However, his first love is to the youth. He strongly believes that the success of any future endeavor really belongs to them. Support this platform with a small donation to help sustain future episodes! DONATE|CONTRIBUTION

"From Chicago to Egypt: Collecting Dead Memorabilia and Memories with Jay Blakesburg"Larry Mishkin features a nostalgic recounting of a Grateful Dead concert from March 11th, 1993, at the Rosemont Horizon in Rosemont, Illinois. The discussion covers various aspects of the event, including the venue's challenges, the band's performance, and reflections on specific songs played during the show. Larry also touches on recent music events, such as Phil Lesh and Friends' performances and upcoming Phish summer tour dates. It also highlights an exhibition by photographer Jay Blakesburg and his collection of Grateful Dead memorabilia, along with personal anecdotes related to Dead history.  Grateful DeadMarch 11, 1993 (31 years ago)Rosemont HorizonRosemont, Illinois (Chicago)Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet ArchiveFinal night of 3 show run March 9 – March 11 (Tuesday – Thursday)  INTRO:                  Help On The Way                                Track #1                                :20 – 2:06                                 Released on Blues For Allah (1975)                                Played 111 times                                First time:  June 17, 1975 at Winterland, S.F.                                       Last time:  June 22, 1995 at Knickerbocker Arena, Albany, NY       SHOW No. 1:      When I Paint My Masterpiece                                Track #6                                1:36 – 3:12                 "When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar, appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer.             Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages. Douglas Brinkley, while interviewing Dylan for the New York Times in 2020, noted that "When I Paint My Masterpiece" was a song that had grown on him over the years and asked Dylan why he had brought it "back to the forefront of recent concerts". Dylan replied, "It's grown on me as well. I think this song has something to do with the classical world, something that's out of reach. Someplace you'd like to be beyond your experience. Something that is so supreme and first rate that you could never come back down from the mountain. That you've achieved the unthinkable. That's what the song tries to say, and you'd have to put it in that context. In saying that though, even if you do paint your masterpiece, what will you do then? Well, obviously you have to paint another masterpiece". According to his official website, Dylan played the song live 182 times between 1975 and 2019.[4] Five live performances of the song from Dylan's 1975 Rolling Thunder Revue tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings in 2019. The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour in 2023. Played 146 timesFirst: June 13, 1987 at Ventura County Fairgrounds, Ventura, CALast: July 9, 1995 at Soldier Field, Chicago My favorite Dylan cover.  Would rotate in first set with other Dylan covers including Queen Jane Approximately, Stuck Inside of Mobile With Memphis Blues Again and Desolation Row.            SHOW No. 2:      So Many Roads                                Track #7                                :39 – 2:21                 So Many Roads was first performed by the Grateful Dead on February 22, 1992. It was then played regularly through to the last performance of the song on July 9, 1995. In total the song was played just over 50 times.Jerry Garcia spoke about So Many Roads in an interview with Dave DiMartino in 1992;“It's Hunter writing me from my point of view, you know what I mean? We've been working together for so long that he knows what I know. The song is full of references to things that have to do with me.... “....Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that's the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. There actually biographical I guess. He's the one writing them, but even so they express my point of view - and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up ... I can sing that song, feel totally comfortable with it.” Robert Hunter's comments on the origins of this song in the notes in Box Of Rain: Lyrics 1965-1993; “One afternoon, Jerry was playing some unstructured changes on the piano. Figuring they might be forgotten otherwise, I clicked on my tape recorder. Ten years later I found the tape and listened to it, liked it, and set these words to it. Listening to the pitifully recorded and time-degraded tape, Jerry protested that, although he liked the words, his changes were not very good and unfinished besides. This didn't seem to be the base and I requested that he at least give it a run through. The result was one of the better received new GD songs and one that almost got away.” Never released on a Dead studio album but was a centerpiece of the Dead's first Box Set:  So Many Roads, 5 disc retrospective of the band from 1965 to 1995. Many commentators said this was the best one ever.  When I saw the show, we were still just all hearing the song fort the first few times and getting used to it.  Over time, it has become a favorite thanks to Hunter's lyrics and Jerry's playing and singing. Very emotional.    SHOW No. 3:      Iko Iko                                Track No. 9                                4:04 – 5:38                 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts.             The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.             The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko".  Second set opener.  From intro, it was hard to tell if they were going into Women Are Smarter to Iko.  Really enjoyed Women Are Smarter, but always extra happy when it turns out to be Iko. Great version.  Jerry very energetic and really getting into it.                 Played 185 times                First: May 15, 1977 at The Arena in St. Louis                Last: July 5, 1995 at Riverport Amphitheater in St. Louis (first and last time in St. Louis!!)                 SHOW No. 4:      Space                                Track #15 (note that there are 2 “Space” tracks, this is the first one, Track 15)                                4:25 – 5:42 (The Island – Ken Nordine)                               Ken Nordine (April 13, 1920 – February 16, 2019) was an American voice-over and recording artist, best known for his series of word jazz albums.[2] His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.”             In 1955, he provided the voiceover on Billy Vaughn's version of "Shifting Whispering Sands", which peaked at number 5 on the Billboard Hot 100. He subsequently attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957). Love Words, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz by the Fred Katz Group featuring Chico Hamilton recording under an alias.             Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, it has been observed that some of Nordine's writings "are more akin to Franz Kafka or Edgar Allan Poe" than to the beats.[8] Many of his word jazz tracks feature critiques of societal norms.[9] Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine's DVD, The Eye Is Never Filled was released in 2007.[9]Nordine hosted the weekly Word Jazz program on WBEZ, also carried on other stations, from the 1970s for over forty years.In 1990, Nordine was approached by Jerry Garcia of The Grateful Dead to be the anchor for their New Year's Eve radio broadcast from Oakland, California.[13] For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart and Egyptian musician Hamza El-Din.[13] This subsequently led to an album Devout Catalyst, released on the Grateful Dead's own label in 1991[13] and Upper Limbo in 1993[14] and an appearance with the band live at a show at Rosemont, Illinois, in March 1993.            Ken Nordine died February 16, 2019.                OUTRO:                Days Between                                Track No. 18                                4:51 – 6:51                 “Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.)            It appeared like the ghostly ships it describes, as if gradually from a fog and only slowly revealing itself as something very big, towering above everything around. It's hard to say it any better than Phil Lesh did in his autobiography, Searching for the Sound:“Achingly nostalgic, ‘Days Between' evokes the past. The music climbs laboriously out of shadows, growing and peaking with each verse, only to fall back each time in hopeless resignation. When Jerry sings the line ‘when all we ever wanted / was to learn and love and grow' or ‘gave the best we had to give / how much we'll never know,' I am immediately transported decades back in time, to a beautiful spring morning with Jerry, Hunter, Barbara Meier, and Alan Trist—all of us goofing on the sheer exhilaration of being alive. I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”            Each verse in the song contains fourteen lines, and each evokes a different season of the year, although not in sequence. The first verse contains the lines “Summer flies and August dies / the world grows dark and mean.” I can't hear that line without thinking about August West, in Wharf Rat, and, by extension, Garcia himself. “The singing man is at his song / the holy on their knees.” Who is the singing man, if not Garcia, when it comes to Hunter and his words?                Played 42 times by the band, always in the second set, almost always out of drums                First:  February 22, 1993 at the Oakland Alameda County Coliseum in Oakland, CA                Last:  June 24, 1995 at RFK Stadium, Washington, D.C. This was just the second time it was ever played “Gave the best we had to give, how much we'll never know” No chorus in this song, just verses that keep building on each other. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

March 19th might be just another day in other parts of the United States, but here in New Orleans it's a day when revelers take to the streets in honor of the Feast of St. Joseph. The tradition of food altars dedicated to Jesus' foster father came to the Crescent City in the late 1800s with immigrants from Sicily, where Joseph is the patron saint. What was called Mi-Carême (or Mid-Lent by the Creoles) was a day when fasting was suspended and festivities abounded. On this week's show, we explore the holiday and join in on the celebration. Tony Marino's family were faithful followers of St. Joseph, and today, he keeps the tradition alive at his Bourbon Street home in New Orleans' French Quarter. We sit down with Tony to hear what it takes to pull off his annual street party, complete with altars and a life-sized statue of St. Joseph. Then, Arthur Brocato, third generation of Angelo Brocato's Ice Cream and Confectionary, joins us to share his family's history and explain the special role Brocato's has played in the St. Joseph's Day celebration. Founded in the French Quarter in 1905, the gelateria and pasticceria continues those traditions today on Carrollton Avenue in Mid-City. Finally, historian Laura Guccione joins us to reveal what she's discovered about the fancy dress balls that were once part of the St. Joseph tradition and to explain the mystical tie between the feast day and the Mardi Gras Indians. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

March 19th might be just another day in other parts of the United States, but here in New Orleans it's a day when revelers take to the streets in honor of the Feast of St. Joseph. The tradition of food altars dedicated to Jesus' foster father came to the Crescent City in the late 1800s with immigrants from Sicily, where Joseph is the patron saint. What was called Mi-Carême (or Mid-Lent by the Creoles) was a day when fasting was suspended and festivities abounded. On this week's show, we explore the holiday and join in on the celebration. Tony Marino's family were faithful followers of St. Joseph, and today, he keeps the tradition alive at his Bourbon Street home in New Orleans' French Quarter. We sit down with Tony to hear what it takes to pull off his annual street party, complete with altars and a life-sized statue of St. Joseph. Then, Arthur Brocato, third generation of Angelo Brocato's Ice Cream and Confectionary, joins us to share his family's history and explain the special role Brocato's has played in the St. Joseph's Day celebration. Founded in the French Quarter in 1905, the gelateria and pasticceria continues those traditions today on Carrollton Avenue in Mid-City. Finally, historian Laura Guccione joins us to reveal what she's discovered about the fancy dress balls that were once part of the St. Joseph tradition and to explain the mystical tie between the feast day and the Mardi Gras Indians. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

We caught up with Joseph Boudreaux Jr. of the Golden Eagles and trumpeter Aurélien Barnes about the Mardi Gras Indian tradition in New Orleans  Ep: 380 #ATJPod Catch them live 02/17/24 at Gasparilla Music Festival and 03/07/24 at Arkansas Museum of Fine Arts more: https://therumbleband.com/ @allthatjampod on IG, FB, and Twitter - www.allthatjampod.com - Subscribe - leave a review - tell a friend. Merch: https://t.co/QgtAisVtbV All That Jam is brought to you by Executive Producers Amanda Cadran and Kevin Hogan. Produced and edited by Amanda Cadran and Kevin Hogan. Mixed and Mastered by Kevin Hogan. Original Music by Aaron Gaul. Art by Amanda Cadran.

Jelly Roll Morton talks of being a “Spy Boy” in the Mardi Gras Indian parades of his youth. Bo Dollis, of the Wild Magnolias, tells of sewing his suit of feathers and beads all night long. Tootie Montana masks for the first time as Mardi Gras starts up again after World War II. Big Queen Ausettua makes connections between the black Mardi Gras Indian traditions of New Orleans and Africa. Sister Alison McCrary, a Catholic nun and social justice attorney, tells of Big Chief Tootie Montana's death at the podium in city council chambers defending the rights of the Mardi Gras Indians to parade without harassment. A collection of stories and interviews in honor of the Mardi Gras Indian tradition in New Orleans. With special thanks and a shout out to all of the “Keepers” who have documented, preserved and shared these stories, including the Folklife Center Collection at the Library of Congress, Nick Spitzer and American Routes, filmmaker Lisa Katzman, and WWOZ in New Orleans. The Kitchen Sisters Present is part of PRX's Radiotopia network and is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson), with Nathan Dalton and Brandi Howell.

The Rumble: A New Orleans Experience Like No Other In the latest episode of "Music Matters Podcast," I had the privilege of chatting with two key members of the seven member musical family called "The Rumble", those two band members being, Chief Joseph Boudreaux Jr and Aurélien Barnes. The band  already has a Grammy-nominated debut album: "Live At The Maple Leaf" (hear it on DistroKid etc). Oh yeah don't forget to chaeckout the bands new Double (Limited Edition) Vinyl version as well...  The bands hometown is New Orleans, and they're shaking up the music scene with their electrifying blend of funk, brass, and Mardi Gras Indian culture.  The Rumble is more than just a band; they're a cultural force, carrying on the legacy of Black Masking Indians while infusing their sound with modern innovation. Their live performances are a symphony of pulsating rhythms, soulful vocals, and mesmerizing call-and-response chants, inviting audiences to participate in a living tradition that's both deeply rooted and constantly evolving. During our chat, The Rumble's members shared their passion for preserving and sharing the rich history of Black Masking Indian culture. They spoke about the importance of passing down these traditions to future generations and how their music is a way to keep the spirit of Mardi Gras alive year-round. I was particularly struck by the band's humility and commitment to their community. They recognize that their music is not just about entertainment; it's about connecting with people and sharing a message of unity, love, and resilience. If you're looking to experience the heart and soul of New Orleans, look no further than The Rumble. Their music is infectious, their energy is unmatched, and their connection to the city's heritage is palpable. You're sure to have an unforgettable time grooving to the beat of The Rumble. Tune in to our podcast, "Music Matters Podcast with Darrell Craig Harris", to hear my full chat with The Rumble and learn more about their incredible music and the legacy they're carrying on. The Rumble music/social media channels are: https://distrokid.com/hyperfollow/therumblechiefjosephboudreauxjr/the-rumble-ft-chief-joseph-boudreaux-jr-live-at-the-maple-leaf-bar https://open.spotify.com/album/4HiRHdTMtecnmVRyWLgpQn?referral=labelaffiliate&utm_source=1101ly6BAu9F&utm_medium=Indie_Distrokid&utm_campaign=labelaffiliate https://music.apple.com/us/album/the-rumble-ft-chief-joseph-boudreaux-jr-live-at-the/1679805548 https://www.instagram.com/therumble.official/ https://www.facebook.com/therumblenola https://www.youtube.com/@therumble.official/featured The Rumble's website: https://therumbleband.com/ Thanks for listening in, and thanks to our sponsors, and behind the scene crew that makes this podcast happen :) Music Matters with Darrell Craig Harris is sponsored by Kathy Ireland Worldwide & with support from Music Crowns in London, and Nigel John Farmer.~ my co-producer and voice over talent from his studio @VoiceWrapStudio.com Our thanks to Rodney Hall FAME Recording Studios in Muscle Shoals, Alabama for our intro and outro backing music clip.    A Big Shout and thanks to our friends at #AudioGeer , @sullenfamily and the awesome support! #Shure #MV7 #podcast mic!  Please check out our Music Matters podcast on @spotifypodcasts Hey, also check out the New Music Matters Podcast Website-  Please, support, LIKE and help us grow - check out our Social Media pages: #music #love #hiphop #rap #art #musician #artist #musica #instagood #singer #instagram #rock #like #dance #guitar #photography #song #bhfyp  #newmusic #life #producer #fashion #rapper #viral #songwriter #creative #podcast    

On the vibrant morning of Mardi Gras, your eyes are treated to a visual spectacle of intricate beadwork as the Indians dance down the streets of New Orleans. However, it's the rhythmic heartbeat, known as "the rumble," that announces their arrival. Comprising seven accomplished musicians, The Rumble transcends the label of a mere band, offering an immersive experience into a distinctive facet of New Orleans culture.Led by Second Chief Joseph Boudreaux Jr. of the Golden Eagles, the ensemble includes trumpeter Aurélien Barnes, trombonist José Maize Jr., bassist TJ Norris, guitarist Ari Teitel, keyboardist Andriu Yanovski, and drummer Trenton O'Neal. Their fusion of iconic New Orleans funk, reminiscent of The Meters and The Neville Brothers but modernized for the next generation, incorporates electrifying brass and showcases the visual splendor of the Black Masking carnival tradition.The Rumble's inaugural album, "Live at the Maple Leaf," earned them a well-deserved GRAMMY for Best Regional Roots Album in 2024. Their live performances are symphonies of rich color and propulsive sound, featuring each member taking on vocal duties and engaging the audience with classic Mardi Gras Indian-style call-and-response chanting.In paying homage to trailblazers like Wild Magnolias and Golden Eagles, with the latter featuring the vocal stylings of Boudreaux's father, Monk Boudreaux, The Rumble becomes a torchbearer for preserving the legacies and traditions of their community. While deeply rooted in centuries-old traditions, the group injects new layers of depth into their performances, ensuring that the cultural flame continues to burn brightly for generations to come.Attending a live show by The Rumble isn't just a musical event; it's an invitation to participate in a living culture. As bold and passionate culture-bearers, The Rumble offers audiences an opportunity to witness the evolution of a centuries-old tradition, ensuring its vitality and relevance for the next generation.https://therumbleband.com/Support the showThanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

For the past three years, Jackson, Mississippi has been looking for solutions to urban heat islands — places in the city where temperatures are higher because buildings and roads absorb heat. Data shows the hottest areas in Jackson are usually near neighborhoods that have been historically discriminated against. The Gulf States Newsroom's Danny McArthur visited one green infrastructure project designed to cool an iconic part of the city. “The Christmas Spider,” a new holiday operatic work based on a Ukrainian Christmastime folktale, will premiere at Opera Louisiane this weekend. Kathryn Frady, general director, CEO and the company's leading soprano, and John de los Santos, librettist and the production's stage director, tell us more about dramatizing an old folk story for the stage.  A 1997 film about the life of a New Orleans Mardi Gras Indian chief is lost no more, after producers stumbled across an old DVD copy of it years after it went missing during Hurricane Katrina. The documentary, “Testimony of a Big Chief,” tells the story of the late Allison “Tootie” Montana, who led the Yellow Pocahontas Black Masking Indians for 50 years.  Director Will Horton, who is also an adjunct professor at Loyola University's College of Music and Media,is celebrating the film's recovery with a screening at Loyola this Thursday. Horton will be joined in conversation by the film's producers, Tootie's longtime friends and even his son, Darryl Montana. Horton and Montana join us for more on the making of the film and why the story endures. Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber and our assistant producer is Aubry Procell. Our engineer is Garrett Pittman. You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

Mardi Gras Indian from NOLA talks about what he learned from his father and how he passes that knowledge down to young maskers.

Leader of the Golden Eagles, a Mardi Gras Indian tribe of New Orleans, Louisiana talks about the indigenous regional rhythms of his community.

Jesse Starcher and Mark Radulich present their Treme HBO 2012 2013 Season 3 and 4 Review! Treme is an American drama television series created by David Simon and Eric Overmyer that aired on HBO. The series features an ensemble cast, including Khandi Alexander, Rob Brown, Chris Coy, Kim Dickens, India Ennenga, John Goodman, Michiel Huisman, Melissa Leo, Lucia Micarelli, David Morse, Clarke Peters, Wendell Pierce, Jon Seda, Steve Zahn, and features musical performances by several New Orleans-based artists.The series takes its name from Tremé, a neighborhood of New Orleans. It begins three months after Hurricane Katrina as the residents, including musicians, chefs, Mardi Gras Indians, and other New Orleanians, try to rebuild their lives, their homes, and their unique culture in the aftermath of the 2005 hurricane and the subsequent severe flooding of the city.The fourth-season opening credits show post-Katrina recovery and imagery of Barack Obama being elected as President. These credits feature more footage and images of joyous New Orleans occasions and touchstones, as Thorson did that as a "thank you" to the city. The final title card appears newly painted on a white plastered wall, on which actor Clarke Peters provided the hand-brushed finishing touches.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsosnapchat: markkind76FB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

  In the face grind culture and a neverending barrage of bad news, there are gentler ways to care for yourself and your family. Let's talk about how to maintain a healthy sense of fun and playfulness even when the pressure's on to show up as a serious, well-respected grownup! On this episode of Lifeyness, I'm speaking with the talented Nikesha Elise Williams, mother of two young children, award-winning author, and producer and host of the Black & Published podcast. Nikesha is also a two-time Emmy award winning producer. Her latest book, Mardi Gras Indians, was published by LSU Press in October 2022. A Chicago native, Nikesha is a columnist with JAX Today.  We dive into Nikesha's journey, her background in news, and how she celebrates life and family in spite of a society that can seem very grim. Nikesha discusses Black family life in the context of her own childhood, and how her parents nurtured and supported her. She has valuable insight when it comes to finding joy in parenthood and raising happy, curious, and carefree children. Her wholehearted approach to being human and showing up honestly and unapologetically is what what makes Nikesha so unique!   Connect with me @book_of_lifeyness and @sarah_k_clarke   Connect with Nikesha @nikesha_elise Find more information about Nikesha's books and podcast here!

Jesse Starcher and Mark Radulich present their Treme HBO 2011 Season 2 Review! Treme is an American drama television series created by David Simon and Eric Overmyer that aired on HBO. The series features an ensemble cast, including Khandi Alexander, Rob Brown, Chris Coy, Kim Dickens, India Ennenga, John Goodman, Michiel Huisman, Melissa Leo, Lucia Micarelli, David Morse, Clarke Peters, Wendell Pierce, Jon Seda, Steve Zahn, and features musical performances by several New Orleans-based artists.The series takes its name from Tremé, a neighborhood of New Orleans. It begins three months after Hurricane Katrina as the residents, including musicians, chefs, Mardi Gras Indians, and other New Orleanians, try to rebuild their lives, their homes, and their unique culture in the aftermath of the 2005 hurricane and the subsequent severe flooding of the city.Fourteen months after Katrina hit New Orleans, on All Saints' Day, the characters remember their deceased loved ones and focus on continuing to cope with the struggles in their lives.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsosnapchat: markkind76FB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

Tony Diaz will feature some special talent for the upcoming event: The 34th Annual Accordion King & Queens (AKG) Join Texas Folklife for a night as big as the Lone Star State, showcasing the amazing musical diversity of Texas accordion styles. It will be on June 3rd, 2023, from 7PM - 10PM at the Miller Outdoor Theatre. Texas Folklife's Accordion Kings & Queens (AKQ) draws thousands annually to Houston's Miller Outdoor Theatre. The event celebrates the cultural diversity of Texas by bringing communities together for an evening of roots music, featuring a variety of Texas accordion music genres. Get your tickets here! https://texasfolklife.org/index.php/AKQ Charlie Lockwood has a decade of experience as a nonprofit arts administrator and public folklorist. A Native Texan, he holds an MA in Ethnomusicology from UC Santa Barbara, where he played the oud with the UCSB Middle East Ensemble and did research with the Mardi Gras Indians of New Orleans. As the Executive Director of Texas Folklife, Lockwood has overseen a variety of flagship public programs and initiatives, including an archival preservation project to organize, digitize and ultimately disseminate the organization's rich archival holdings dating from 1984. Over the last several years Lockwood has spearheaded programs focusing on the intersections of folk and traditional arts and health, including a military veterans folklore and storytelling initiative with support from NEA Creative Forces and Hechos, No Miedo (Facts, Not Fear), a covid-19 PSA Series in partnership with a variety of central Texas partners. In 2014 he co-produced Traditional Music of Texas Volume 1: Fiddle Recordings from the Texas Folklife Archives, and in 2015 was honored with a Community Sabbatical Research Award from the University of Texas at Austin Humanities Institute to research historic and contemporary Texas regional music recordings. Lockwood served as Vice President (2018-2019) and President of the Society for Ethnomusicology Southern Plains Chapter (2019-2020), Journal of Folklore in Education 2019 The Art of the Interview Advisory Committee, is a member of the American Folklore Society and Society for Ethnomusicology. In 2021-2022 Lockwood served on the UTSA Institute of Texan Cultures Task Force: Museum of the Future. He is a former board member of the Americans for the Arts Emerging Arts Leaders Austin chapter and has served on a variety of grant review panels and advisory committees for local and national institutions. Lupe Olivares is the Production Coordinator for 34th Annual Accordion Kings & Queens. He is also the Founder, Creator of Bohemeo's music, art, coffee, LLC. Fall of 2006. Located in Houston's Historic East End. Voted one of Houston's most diverse music venue, restaurant, art gallery and community center. Promoting healthy eating and opening minds to art and human compassion. Written and celebrated by NY Post, Houston Chronicle, Houston Press, Free Press, and Music News publications. Exposing East End Pride. Artistic Director, and Production Coordinator, for Houston International Festival since 1986 to present. Advancing all top level shows between IFest, artist agents and touring mng. Providing logistical support for artist: Transportation, equipment, PA, Lighting, hospitality, security. Stage mng. heading over 30 support personal on site to assure all shows start and end on time. Owner of G. O. Productions, consulting in all things Festivals, and artist/band development: Audio recording, Photography, Video, and distribution of product. Tony Diaz He is the author of The Aztec Love God. His book, The Tip of the Pyramid: Cultivating Community Cultural Capital, is the first in his series on Community Organizing. www.Librotraficante.com www.NuestraPalabra.org www.TonyDiaz.net Nuestra Palabra is funded in part by the BIPOC Arts Network Fund. Instrumental Music produced / courtesy of Bayden Records Website | baydenrecords.beatstars.com

On this episode of DaTakeOver, we had the pleasure of speaking with Flagboy Giz, a hip hop artist and active masking member of the Wild Tchoupitoulas. Flagboy Giz is known for his unique blend of traditional Mardi Gras Indian music and modern hip hop, which is showcased in his debut album "Flagboy of the Nation". We discussed his background in the music industry, including his work on MTV right after Hurricane Katrina. Flagboy Giz shared his insights on the importance of Mardi Gras Indian music in New Orleans culture and how his music contributes to its preservation. Tune in to this episode to learn more about Flagboy Giz's music and his passion for blending tradition with modern sounds.

March 19th might be just another day in other parts of the United States, but here in New Orleans it's a day when revelers take to the streets in honor of the Feast of St. Joseph. The tradition of food altars dedicated to Jesus' foster father came to the Crescent City in the late 1800s with immigrants from Sicily, where Joseph is the patron saint. What was called Mi-Carême (or Mid-Lent by the Creoles) was a day when fasting was suspended and festivities abounded. On this week's show, we explore the holiday and join in on the celebration. Tony Marino's family were faithful followers of St. Joseph, and today, he keeps the tradition alive at his Bourbon Street home in New Orleans' French Quarter. We sit down with Tony to hear what it takes to pull off his annual street party, complete with altars and a life-sized statue of St. Joseph. Then, Arthur Brocato, third generation of Angelo Brocato's Ice Cream and Confectionary, joins us to share his family's history and explain the special role Brocato's has played in the St. Joseph's Day celebration. Founded in the French Quarter in 1905, the gelateria and pasticceria continues those traditions today on Carrollton Avenue in Mid-City. Finally, historian Laura Guccione joins us to reveal what she's discovered about the fancy dress balls that were once part of the St. Joseph tradition and to explain the mystical tie between the feast day and the Mardi Gras Indians. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

March 19th might be just another day in other parts of the United States, but here in New Orleans it's a day when revelers take to the streets in honor of the Feast of St. Joseph. The tradition of food altars dedicated to Jesus' foster father came to the Crescent City in the late 1800s with immigrants from Sicily, where Joseph is the patron saint. What was called Mi-Carême (or Mid-Lent by the Creoles) was a day when fasting was suspended and festivities abounded. On this week's show, we explore the holiday and join in on the celebration. Tony Marino's family were faithful followers of St. Joseph, and today, he keeps the tradition alive at his Bourbon Street home in New Orleans' French Quarter. We sit down with Tony to hear what it takes to pull off his annual street party, complete with altars and a life-sized statue of St. Joseph. Then, Arthur Brocato, third generation of Angelo Brocato's Ice Cream and Confectionary, joins us to share his family's history and explain the special role Brocato's has played in the St. Joseph's Day celebration. Founded in the French Quarter in 1905, the gelateria and pasticceria continues those traditions today on Carrollton Avenue in Mid-City. Finally, historian Laura Guccione joins us to reveal what she's discovered about the fancy dress balls that were once part of the St. Joseph tradition and to explain the mystical tie between the feast day and the Mardi Gras Indians. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

Jesse Starcher and Mark Radulich present their Treme HBO 2010 Season 1 Review! Treme is an American drama television series created by David Simon and Eric Overmyer that aired on HBO. The series premiered on April 11, 2010, and concluded on December 29, 2013, comprising four seasons and 36 episodes. The series features an ensemble cast, including Khandi Alexander, Rob Brown, Chris Coy, Kim Dickens, India Ennenga, John Goodman, Michiel Huisman, Melissa Leo, Lucia Micarelli, David Morse, Clarke Peters, Wendell Pierce, Jon Seda, Steve Zahn, and features musical performances by several New Orleans-based artists. The series takes its name from Tremé, a neighborhood of New Orleans. It begins three months after Hurricane Katrina as the residents, including musicians, chefs, Mardi Gras Indians, and other New Orleanians, try to rebuild their lives, their homes, and their unique culture in the aftermath of the 2005 hurricane and the subsequent severe flooding of the city. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

When you think Mardi Gras, you might think king cake, colorful beads thrown from parades, and as much debauchery as one can manage before the Lenten season of repentance begins the following day. Maybe you've wondered whether Mardi Gras, or Fat Tuesday, is even a Catholic holiday given the day's deluge of decadence.  Mardi Gras is not only Catholic, it's French, Creole, African-American, African and Native American. And there are layers to this ornate carnival that reveal a powerful history of Black joy, resistance and rebellion. So tells Nekisha Elise Williams, the author of Mardi Gras Indians, and today's guest on The Gloria Purvis Podcast.  “There are really two Mardi Gras,” says Nekisha, “and where Black people party and have Mardi Gras is not always the same as where white people party and have Mardi Gras.” For a long time, the segregation between white and Black Mardi Gras was policed by Jim Crow laws. And while there is growing curiosity about what happens at “Black Mardi Gras,” the impact of white supremacy culture still reinforces this historical segregation.  One vibrant and distinct tradition that white mainstream Mardi Gras often misses is that of the Mardi Gras Indians, otherwise known as the Black-Masking Indians. They have a fascinating history that dates back to the 1800s, when Native Americans provided a safe refuge for enslaved Africans who had escaped bondage. This friendship between formerly enslaved Africans and various Native American tribes of the lower Mississippi River Valley helped birth one of the most colorful and unique cultural expressions of Mardi Gras.  Nikesha has done extensive research on the Mardi Gras Indians and describes them as “a group of men, women, children, families, neighbors who at Carnival time in New Orleans mask Indian or mask as the Plains Indians, Native American indigenous people.”  Masking as indigenous has served at least two important purposes. It's a way to pay homage to their ancestors and their friendship with the Native American tribes that harbored them “while also paying tribute to the warrior culture of African tribes that were enslaved on the continent and brought over to the new world,” says Nikesha.  “It's not just a parade [...] to go out, get drunk, have fun, and like say, ‘Hey, Mister, throw me some beads,'” Nikesha says. “For some of them, it really is a spiritual and religious experience. And that goes down to the songs that they sing, the hand signals that they throw, the dances that they do, and how they operate within their communities as well.” To learn more about the colorful and defiant history of the Mardi Gras Indians, be sure to listen to this special Mardi Gras episode of The Gloria Purvis Podcast.  To support this podcast, please consider getting a digital subscription to America Media at www.americamagazine.org/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

In honor of Fat Tuesday, guest host Kevin Clement takes us through the history (and music) of New Orleans' Mardi Gras Indians.   Rockin' the Suburbs on Apple Podcasts/iTunes or   other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

In 2010, to mark the 5th anniversary of the Katrina disaster, we went way way back to honor New Orleans as the unique American treasure it is. This program tells the story of how jazz emerged in the context of all the other African American musics that proliferated in late 19th and early 20th century New Orleans: blues, ragtime, Mardi Gras Indian music, vaudeville and minstrelsy, spiritual church music, and more. With our guides Bruce Boyd Raeburn and Lynn Abbott, we'll comb through a vast world of interviews, recorded music, photographs, ephemera, and curatorial knowledge at one of the great American music collections, the William Ransom Hogan Jazz Archive at Tulane University. Produced by Ned Sublette.

EPISODE NOTES:Dressing up in costumes and masks has been at the heart of carnival celebrations since the founding of the city in the 1718. In the twentieth century, new groups emerged challenging the status quo and reshaping the festivities into the celebration that is the biggest tourist draw and the most famous public festivities of the Crescent City. If you would like, you can support us at: https://www.patreon.com/historyunhemmed https://anchor.fm/historyunhemmed/support   And/or follow us on social media: Instagram: @history_unhemmed Facebook: History Unhemmed   Thank you!

Mardi Gras 2023 is quickly approaching! So, I decided to do a fun episode on Mardi Gras! In New Orleans, Mardi Gras is such a joyous time, filled with laughter, fun, and cheer! Most people love Mardi Gras because of the friendliness shown to all, tourists and natives alike. During Mardi Gras, there are so many different sites to see, from parades, Bourbon Street, Mardi Gras Indians, and more! Major shout out to my godson, RandoRexx on the intro! @randorexx ; And I have to shout out Brassaholics Brass Band for their audio I used at the end of this episode @brassaholics .

Last week, two Baton Rouge area elementary school teachers were recognized with the Milken Educator Award, a nationwide honor sometimes described as “the Oscars of Teaching.” Today, the two teachers, Dereka Duncan and Elise Frederic, tell us more about this accomplishment.  When a hurricane strikes, it's not just the immediate wind and rain damage that causes concern. Many are also forced to grapple with flooding, and often, as in the case of Hurricane Katrina, the water rises and stays for days at a time. Now, the LSU Department of Oceanography and Coastal Science and the Center for Computation and Technology are working to better predict flooding after hurricanes with a new computer modeling system. Associate professor George Xue tells us how this modeling will help communities prepare for disasters. With carnival season underway we are going back to the archives to hear some of our favorite Mardi Gras stories from years past. Today, in collaboration between WWNO's Thomas Walsh and StoryCorps, we bring you a 2015 conversation between two Mardi Gras Indians, Littdell “Queen B” Bannister and Mary Jones, who discuss sewing personal pride into each stitch of their costumes. Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman, Aubry Procell, and Thomas Walsh.  You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

Click Here to listen to Interview with Fred Johnson - Spy Boy along with notes, transcript, pictures and videos.  Spy Boy for 15 years for the Yellow Pocahontas Mardi Gras Indian Tribe. Our Living Legend discusses history, life, Big Chief Tootie Montana and the rise of the Mardi Gras Indians.It's Mardi Gras Time! Everything you want to know about the Mardi Gras IndiansBlack Mardi Gras and White Mardi GrasCarnival and the start of Mardi Gras Indian TribesTransformation under Big Chief Tootie MontanaWhat is a Big Chief, the Spy Boy the roles of Mardi Gras Indian Tribes

This episode is dedicated to explaining the deep and rich culture of Mardi Gras Indians in New Orleans. We explain some of the history, share some interviews from real Mardi Gras Indian tribes, and discuss the evolution of Mardi Gras Indian music.

This week on Beale Street Caravan, the group Cha Wa delivers the sound of New Orleans brass bands and the style and energy of Mardi Gras Indians in an electrifying set live from Railgarten. Grammy nominated blues man, Guy Davis, will be with us to deliver an installment of the Blues Hall of Fame, an exploration of the lives of the pioneers and innovators enshrined in the Blues Hall of Fame, here in Memphis, TN, brought to you by the Blues Foundation.

A few years ago, Alabama's Department of Archives and History found thousands of objects from Native American graves in its collection. It also found over one hundred sets of ancestral remains. Now, the institution is working with tribal nations to give them back. For the Gulf States Newsroom, WBHM's Kyra Miles reports on this complicated process. LUNA Fête, New Orleans Annual Festival of Light, Art and Technology kicks off this week. Arts New Orleans CEO Joycelyn Reynolds tells us how this year's event will celebrate the city's history of costumes and craftsmanship with a special tribute to Mardi Gras Indians.  ‘Tis the season for holiday concerts! And this week The Historic New Orleans Collection is hosting La Noche Buena: Spanish Christmas Music of the New World. Alfred Lemmon, head of the Williams Research Center at The HNOC joins us with details. Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman, Aubry Procell, and Thomas Walsh.  You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

496. We talk to Nikesha Elise Williams about her book on Mardi Gras Indians. Mardi Gras Indians explores how sacred and secular expressions of Carnival throughout the African diaspora came together in a gumbo-sized melting pot to birth one of the most unique traditions celebrating African culture, Indigenous peoples, and Black Americans.Williams ties together the fragments of the ancient traditions with the expressed experiences of the contemporary. From the sangamentos of the Kongolese and the calumets of the various tribes of the lower Mississippi River valley to one-on-one interviews with today's Black masking tribe members, this book highlights the spirit of resistance and rebellion upon which this culture was built. This week in Louisiana history. November 19, 1920. First time term "Green Wave" used to describe Tulane University. UhThis week in New Orleans history. Doris Zemurray Stone is Born. November 19, 1909. Doris Zemurray Stone was an archaeologist and ethnographer, specializing in pre-Columbian Mesoamerica and the so-called "Intermediate Area" of lower Central America. She served as the director of the National Museum of Costa Rica and endowed numerous professorial chairs in U.S. universities. This week in Louisiana. Logansport Christmas Festival November 19, 2022 — January 07, 2023 192 Elm Street Logansport LA 71049 5:00 pm - 11:00 pm The Logansport Christmas Festival is a one-day event held on Saturday, November 19, 2022 includes a parade, food & craft vendors, live entertainment, children's activities and fireworks along the Sabine River. The festival continues with thousands of magical lights turned on nightly January 2023 with special events and activities held on Saturdays in December. View Website Phone: 337-739-4173 Email: logansportchristmasfestival@gmail.comPostcards from Louisiana. Aislinn Kerchaert. Thanksgiving in New Orleans. Listen on Google Play.Listen on Google Podcasts.Listen on Spotify.Listen on Stitcher.Listen on TuneIn.The Louisiana Anthology Home Page.Like us on Facebook.  

The Grammy-nominated Big Chief of the Golden Eagles recorded with the Wild Magnolias on their landmark records, electrifying Mardi Gras Indian chants with Willie Tee and Snooks Eaglin’s funk and creating a mind-blowing hybrid of New Orleans music. From neighborhood barrooms to Carnegie Hall, Monk has spent a lifetime masking and performing around the world with his group and in collaboration with artists like Dr John, Galactic, Anders Osborne, Papa Mali, and John Papa Gros. Tonight he enters the Feral Zone with John Gros in advance of their tour of Spain supporting his latest record, “Bloodstains and Teardrops.” Topics include a mixed neighborhood, the White Eagles, a Chief Scout, Indian practice, a hidden culture, speaking French, initiation, recording, Quint Davis, Bo Dollis, the Elder of Elders, becoming Big Chief, sewing, the power of the suit, outside gangs, respect for the chief, Indians vs. the police, tribal positions, Super Sunday, the prettiest Indian, a lifestyle, work with blues artists, not thinking, togetherness, “Indian Red,” Black Johnny, the next generation, and much more. Intro music: "Trucker Takes A Wife" by Styler/Coman Break Music: "Monk's Mardi Gras" from "Won't Bow Down" by Big Chief Monk Boudreaux Outro Music: "Choo Choo" from "Bloodstains and Teardrops" by Big Chief Monk Boudreaux and "My Indian Red" from "Jazz A'La Creole" by the Baby Dodds Trio Support the podcast: Paypal or Venmo Join the Patreon page here. Shop for Troubled Men’s Shirts here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook John Papa Gros Facebook John Papa Gros Homepage Big Chief Monk Boudreaux Facebook Big Chief Monk Boudreaux Homepage

On this BONUS episode of Black & Published, Nikesha talks about the release of her new book, Mardi Gras Indians, coming out from LSU Press on October 5, 2022. She details the journey since her last bonus episode detailing her own Black & Published story about how the book started with an essay about food, evolved through a global pandemic and pregnancy, and left her with doubts and fears about whether she'd really be able to tell a story older than America. Support the show

In this episode, we interview two very dynamic bands in this second episode of the Worldfest series, the first featuring the pioneering band from Brooklyn New York --Red Baraat. Red Baraat fuses Hip-hop, Indian Bhangra, and funk. They unite the crowd in joy and high energy and are an act not to be missed. And returning to the podcast for their second time is the extraordinary Cha Wa! From the NOLA streets to the stage to the studio, two-time Grammy nominated band Cha Wa delivers an organic sound, an authentic story and an undeniable energy. This brass band-meets-Mardi Gras Indian outfit shares their electric energy. To learn more about our guests visit: https://www.redbaraat.com http://www.chawaband.com/ https://worldfest.net/   Please like, subscribe or follow this podcast on your preferred listening platform, and if you are even more ambitious, it would mean so much to me if you would complete a very short survey on how to shape future episodes of the podcast. Please consider filling out this short questionnaire by clicking here.   Be a part of this podcast! Sign up on our website to receive exclusive show insights and be the first to know about podcast extras and join the Neurons to Nirvana community.  

Nikesha Elise Williams is a two-time Emmy award winning producer, an award-winning author, and producer and host of the Black & Published podcast. Her latest novel, Beyond Bourbon Street, was awarded Best Fiction by the Black Caucus of African-American Librarians in the 2021 Self-Published eBook Literary Awards. It also received the 2020 Outstanding Book Award from the National Association of Black Journalists. Nikesha's forthcoming book, Mardi Gras Indians, will be published by LSU Press on October 5. A Chicago native, Nikesha is an Editor at Narrative Initiative and a columnist with JAX Today. Her work has also appeared in The Washington Post, ESSENCE, and VOX. She lives in Florida with her family and is working on her next novel. Interviewer Yvette Angelique Hyater-Adams is a poet, teaching artist, and proven culture change strategist. She publishes, curates, and facilitates storytelling for healing, creating art, for consciousness-raising, and advocacy.  Her most recent work is a digital poetry chapbook: Something Old, New, Borrowed, and The Blues. As a recovering bank executive and management consulting firm CEO, Yvette runs a social arts practice, Narratives for Change, LLC. Writing poetry and essay, teaching, and activism is central to her social arts practice. She teaches creative writing for women and girls, and Scholarly Personal Narrative (SPN) for social justice thought leaders. Yvette is on the editorial board for Practicing Social Change for Applied Behavioral Science. She is a volunteer for TEDx Jacksonville as a curator and speaker coach. She is the Chair of the Board of Directors for Alternate ROOTS, a social justice organization for artists and cultural organizers.  Yvette lives with her banker-jazz musician husband in Atlantic Beach, FL. Sign Up for Library U to hear about the latest Lit Chats and catch them live! — https://jaxpubliclibrary.org/library-u-enrollment Nikesha Elise Williams Borrow Nikesha's books from our collection: https://jkpl.ent.sirsi.net/client/en_US/default/search/results?qu=nikesha+elise+williams&te= Website: http://www.newwrites.com/ Twitter: https://twitter.com/Nikesha_Elise Yvette Angelique Website: https://www.yvetteangelique.com/ Twitter: https://twitter.com/yhyater Jacksonville Public Library Website: jaxpubliclibrary.org Twitter: twitter.com/jaxlibrary Facebook: facebook.com/JaxLibrary Instagram: instagram.com/jaxlibrary YouTube: youtube.com/user/jaxpubliclibraryfl Contact Us: jplpromotions (at) coj.net

The powerhouse guitarist from the Wild Magnolias and Papa Grows Funk spent 20 years as a star of the Japanese blues and soul music world before finding a new home in New Orleans. A longtime devotee of Mardi Gras Indian music and the Meters, he quickly found his way into the very bands he’d studied from afar. After nearly three decades at the apex of the funk scene in his adopted city, June tips into an old haunt to rendezvous with the Troubled Men. They decide to do it in English, as Manny and René’s Japanese is atrocious. Topics include gunplay, a murder bet, Carlo Fest, donuts, the 4th of July, Japan, Susan Cowsill, Abe Simpson, fireworks, Tic Tacs, Theryl “the Houseman” DeClouet, that hometown smell, an athlete, American TV and radio, the Ventures, electric guitars, fake hippies, the West Road Blues Band, opening for B.B. King, funk bands, a record deal, Korean cultural dominance, Pink Lady, Chickenshack, Band of Pleasure, David T. Walker, James Gadson, the Sunset Strip, the Maple Leaf, Michael Ward and Reward, Cornell Williams, a Wild Magnolias gig, George Porter, John Gros, the Meters reunion, the Old Point Bar, the Trio with Johnny Vidacovich, the Headhunters, touring, friends back home, Kenken, “The Houseman Cometh,” upcoming dates, and much more. Intro music: Styler/Coman Additional music: "Sukiyaki" by Kyu Sakamoto Break music: "Coochie Molly" from "Life Is A Carnival" by the Wild Magnolias Outro music: "My Man" from "Mr. Patterson's Hat" by Papa Grows Funk Support the podcast: Paypal or Venmo Join the Patreon page here. Shop for Troubled Men’s Shirts here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook June Yamagishi Facebook

Today on Post Reports, what to know about monkeypox and how prepared the United States is for future pandemics. Plus, in New Orleans, the return of a beloved Mardi Gras tradition.Read more:What is monkeypox, and how concerned should we be about the virus? Cameron Wolfe, an infectious-disease expert at Duke University, explains what we know about the rare virus, now confirmed in the United States and Europe. The Centers for Disease Control and Prevention issued an alert late last week, urging doctors and health departments to be vigilant. Monkeypox, which can be passed to animals and humans, is usually found in Central and West Africa. But many of the recent cases cropping up in the United Kingdom, France and elsewhere suggest the virus may be spreading through the community. Plus, in New Orleans, the Mardi Gras Indians are back in a big way.

From the NOLA streets to the stage to the studio, two-time grammy nominated band Cha Wa delivers an organic sound, an authentic story and an undeniable energy. This brass band-meets-Mardi Gras Indian outfit shares their electric energy and thoughts on their unique style of music. Tune in and hear about the history behind the funk and feathers. http://www.chawaband.com/ ------------ Sign up on our website to receive exclusive show insights and be the first to know about podcast extras and join the Neurons to Nirvana community.  

This Black History Month episode of Count Time Podcast is an excerpt from interview with Dr. Ibrahima Seck Pt2 as he describes the African rites of passage from teenager to the world of the adults. This African initiation society led by The Mask has links to the Mardi Gras Indians of New Orleans. LISTEN to the Count Time Podcast episode: "African Secret Society of the Komo" see notes, transcript, pictures and videos here.

Ladies of Unity at Jazz Fest 2019 [Photo by Ryan Hodgson-Rigsbee] START 2433 Dryades St (Sportsman's Corner). Our Second St. to Daneel St. Proceed down Daneel to Louisiana Ave. Make a RIGHT on Louisiana Ave. to Sandpiper. PAUSE. Proceed down Louisiana Ave to Big Man Lounge. Proceed down Louisiana Pkwy to STOP 3206 Louisiana Pkwy NOLA Fashion Freak (Balloon Release). Proceed RIGHT on S. Roman, LEFT on Toledano. Proceed down Toledano to S. Rocheblave. RIGHT on S. Rocheblave to Washington Ave. STOP Tapp's/Fox Bar, Undefeated Diva SAPC. LEFT on Washington Ave. to S. Dorgenois St. RIGHT on S. Dorgenois to MLK. Proceed down MLK to S. Galvez.  STOP Old and Nu Style. Proceed down MLK to make a right S. Claiborne to Jackson Ave. LEFT on Jackson Ave. to Magnolia. Proceed down Magnolia to Washington Ave. LEFT on Washington to LaSalle St. STOP 9x SAPC. Proceed down Washington Ave. to Dryades St DISBAND Sportsman's Corner   In the player below, hear our interview with Ladies of Unity's Carla Harris as she discusses the amazing sisterhood of the club, the club's origins from Mardi Gras Indian culture, and the strong support and bonds that form through difficult times:

What does the man who recorded the Mardi Gras anthem Carnival Time, the man who played Mardi Gras Indian all his life, & the lady who danced her way into Carnival time, Mardi Gras Indian culture, & voodoo have in common? Well, friendship, for starters! In this episode of Everything New Orleans, I got together with three of my longtime friends and running partners: Al 'Carnival Time' Johnson, Spy Boy Ricky Gettridge, and Resa 'Cinnamon Black' Bazile. We had an enlightening and sometimes hilarious conversation about authenticity, culture, music, friendship, and Everything New Orleans. Everything New Orleans: the podcast that has everything you want to know about real New Orleans culture.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=LQ8MS8R7ZZLCC&source=url)

During this episode we discuss his passion for Southern food, specifically BBQ.  We also talk about his writing for the HBO series Treme and what is what like to be in the writers room with David Simon and Eric Overmyer. We talk about Jazz, Mardi Gras Indians and how important it is to preserve the history and culture of New Orleans. 

The Jackson-metro area begins its recovery following Tuesday's severe weather.And, Mardi Grad Indians hold a second line funeral in honor of a local icon.Then, we examine the factors of learning loss and how a pandemic-altered school year could add more challenges.Plus, in our Book Club, the people and places changed by America's mighty waterways in “Holding Back the River.”Segment 1:At least 14 tornados have ripped through parts of Mississippi this week damaging hundreds of homes, uprooting trees and leaving thousands without power. Residents in the Capitol city are beginning the recovery process after the most recent wave of storms. The home of North Jackson resident Fred Clark Sr was essentially sliced in half by a tree during Tuesday's tornado. He shares his experience.Segment 2:At the start of the COVID-19 pandemic, New Orleans was a hotspot for cases and deaths. Many of the events that people across the region regularly attend were put on hold -- Bourbon Street and the French Quarter fell quiet. Jazz Fest and many parades were cancelled. Now, New Orleans is allowing gatherings of up to five hundred people. And a few weeks ago, Mardi Gras Indians held a second line funeral, a parade to honor a local icon: Keelian Boyd otherwise known Big Chief Dump. Dressed in masks and elaborate suits, participants said it signaled a return to some sense of normalcy and joy.Segment 3:Learning loss represents a clockwork pattern of concern as Mississippi students take an extended break from academics during the summer months. This year, due to the coronavirus pandemic, students are also adapting to virtual learning and other changes to educational instruction. In part two of our examination of learning loss, MPB's Desare Frazier speaks with Delta State University Professor Temika Simmons on the persistent challenges and factors facing students, teachers, and families.Segment 4:The Mississippi … the Missouri … the Ohio … Three rivers that have sustained Americans for generations, providing drinking water, nourishing crops and transporting goods. Also happening for generations? Diverting water or confining it. Tyler J. Kelley is the author of Holding Back The River: The Struggle Against Nature on America's Waterways.” He tells the stories of those most impacted by the river's flow and how the present has changed what rivers used to be. See acast.com/privacy for privacy and opt-out information.