Storms are over for now, and the survivors still afloat. Just a few of the accounts of where some musicians ended up:Adock looks out for Bayou bretheren
"In the scattered days following Hurricane Katrina, Adcock's "Disgraceland" loft complex in downtown Lafayette served as a home for displaced New Orleans musicians. Adcock has taken in members of the Iguanas, Susan Cowsill, Ani DiFranco and Mike Napolitano, the producer of "Lafayette Marquis." They have played music, shared stories and eaten gumbo (without tomatoes, a Lafayette tradition) into the early hours of the morning. One night they sang the new Lil' Band o' Gold cover of the Bobby Charles love song "Please Don't Let Me Go to New Orleans." Lafayette (population 110,00) is 130 miles west of New Orleans."Displaced New Orleans jazz musicians find place to play
"LOUISVILLE, Ky. (AP) — A quartet of musicians driven out of New Orleans by Hurricane Katrina plucked and huffed breath back into the Big Easy's sultry spirit with borrowed and donated instruments this weekend.
Scattered by the hurricane's wrath, the four were forced to leave behind many of their belongings and flee to Houston. Then with Hurricane Rita bearing down, they were forced to evacuate again."
11.23.10 the comments and archives part of this blog crashed years ago. i was recently able to get the archives back such as they are. but the comments don't work properly.
i did just receive a comment, and I am asking the person to tell me what you mean.
Anonymous has left a new comment on your post "Storms are over for now, and the survivors still a...":
I love your site, but honestly tell you that you need more for him to monitor those who commented with your records
Simon Reynolds' fascinating meditation on music abundance is today's required read.
The blisshog on music overload.
A musical passion gives birth to Rock n’ Roll
By OFE MOTIKI
9/27/2005 8:58:45 AM (GMT +2)
FRANCISTOWN: Despite the odds, Yvonne Kealotswe was determined to make it on her own. After the company she worked for closed down, she was left unemployed with three children to fend for. Instead of feeling pity for herself, she decided to venture into business.
Kealotswe loves music and is passionate about it. However, she cannot sing nor compose a song, so she resorted to selling music albums as a way of earning a living. She opened a music shop called Rock n’ Roll in the heart of Francistown’s business centre.
(read more about the record retailing biz in Botswana here
Royalty BattleBritish Judge feels the heat in Buena Vista Social Club case
(or, Cubans Fight Americans in High Court over Buena Vista Social Club music).
ROCKRGRL Music Conference
Just a reminder that the ROCKRGRL Music Conference in Seattle is
only 6 weeks away. November 10-12. Here are some of the highlights:
* The Woman of Valor Dinner - honoring Patti Smith - November 10.
This is the kick-off for the conference. Industry luminaries (including Ann Powers)
will be on hand to honor Patti, and she and Lenny Kaye will perform an acoustic set.
This is $100/person and not included with conference registration.
* Keynote addresses by Patti Smith and Johnette Napolitano
* A Shop Talk Q&A between Bonnie Raitt and Ann Wilson
* Ann Powers interviews Cris Williamson on 30 years since Changer & The Changed
* Panel topics include: Women on Air; How to Get Endorsements; Ho Ho Ho:
Lyrics As Humor; Options in Audio; Life After Birth: Can You Be A Mom and a Musician
Too; Financing Your Music: How Much Cash Does It Take; How Do Girls Learn;
Women's Voices In Film; Writing A Hit; Racism In Rock; Press Releases That Rock;
Does Media Coverage Matter; Ladies of the Labels; Second Acts: Surviving
Career Set-Backs and much more
* Partial list of more than 200 showcasing artists include: Johnette
Napolitano (solo), Erin McKeown, Amy Rigby, Wendy Waldman, FOUR Japanese girl
bands (including Megababe), Scarling, Ms Led, Lillix, The Girls (from Tel Aviv), Sara
Hickman, The Shocker (Jennifer Finch from L7's new band), Stiffed, Barbara
Manning, The Brain Surgeons NYC, Texas Terri, Jessy Greene (violin player from
Geraldine Fibbers, Jayhawks), Sonia and Disappear Fear, The Randies, Sarah
Dougher, Leni Stern, Jen Foster, Mind Your Pig Latoya, Buttersprites, Lauren
Hoffman, The Juliet Dagger, Sam Shaber, Jenny Yates (Garth Brooks co-writer),
Magneto, Nicky Click, Shelley Doty, Los Abandoned, Lourds, Placenta, Kegels, Man
ofthe Year, Free Verse, Pin Boys (from Denmark), Ruby Dee and the Snake
Handlers, Narrows, Susan and the Surftones, Modicum, Stereovision, Hazard County
Girls, Lesley & the Ly's, Megan Slankard, Secs, Alice Stuart, Rachel Harrington,
Black Horse and Rosie Flores.
* PLUS a trade show, mixers, and the City of Seattle's Musical History Tour
Please support this important event.
for more info ROCKRGRL Conference
In the wake of the devastation we've been witnessing, PopMatters
salutes New Orleans and the Mississippi Delta with "Storyville". A number of writers are contributing their reflections, although to my way of thinking Mark Anthony Neal's "Race-ing Katrina"
does the most to set the background in social terms.
Neal's article also goes a long way to help explain the art that is beginning to emerge, that meets the disaster head-on.
Music journalist Jason Gross gave his readers a heads-up last week with his short piece on "Legendary KO: 'George Bush Don't Like Black People' single"
. ( PopPolitics was among the first on the line with "How to Tell a True Katrina Story: Beyond Kanye West, Pt II".
And the Chicago Tribune's Greg Kot, "Anger Straight Outa Katrina"
The NY Times yesterday reported about the song and its continuing evolution, as a new video has just sprung up. "Art Born of Outrage in the Internet Age"
By JOHN LELAND
Published: September 25, 2005
IN the 18th century, songwriters responded to current events by writing new lyrics to existing melodies. "Benjamin Franklin used to write broadside ballads every time a disaster struck," said Elijah Wald, a music historian, and sell the printed lyrics in the street that afternoon.
This tradition of responding culturally to terrible events had almost been forgotten, Mr. Wald said, but in the wake of Hurricane Katrina, it may be making a comeback, with the obvious difference that, where Franklin would have sold a few song sheets to his fellow Philadelphians, the Internet allows artists today to reach the whole world.
For example, an unlicensed rap song describing the frustration of African-American evacuees has been made available free on the Internet. The song, "George Bush Doesn't Care About Black People," by the Houston duo called the Legendary K.O., vividly recounts the plight of those who endured the hurricane, occasionally using crude language in the process. It has already been downloaded by as many as a half-million people. The videos have been seen by thousands.
"A. J. Liebling famously commented that freedom of the press belongs to those who own one," said Mike Godwin, legal director of Public Knowledge, a First Amendment group. "Well, we all own one now."
"George Bush Doesn't Care About Black People" takes its title from remarks made by the hip-hop star Kanye West at a televised benefit for storm victims on Sept. 2. It took shape in Houston, where two friends were helping evacuees at the Astrodome and convention center the Sept. 3 weekend.
"When they got to Houston, people were just seeing for the first time how they were portrayed in the media," said Damien Randle, 31, a financial adviser and one half of the Legendary K.O. "It was so upsetting for them to be up on a roof for two days, with their kids in soiled diapers, and then see themselves portrayed as looters."
In response, Mr. Randle and his partner, Micah Nickerson, wrote a rap based on the stories of the people they were helping. On Sept. 6, Mr. Nickerson sent Mr. Randle an instant message containing a music file and one verse, recorded on his home computer. Mr. Randle recorded an additional verse and sent it back, and 15 minutes later it was up on their Web site: www.k-otix.com.
"Within the first 24 hours, it was downloaded 10,000 times," Mr. Randle said. "It crashed our server." Since then at least five sites have posted the song, with downloads of 100,000 each, he said.
In New Brunswick, N.J., Marquise Lee, a freelance video producer, heard the song and thought it called for a video. He downloaded scenes of African-Americans in New Orleans, intercutting them with images of President Bush and unrelated scenes from a Kanye West video. "It was a first-person account of the struggle - 'Come down and help me,' " said Mr. Lee, 25.
Mr. Lee posted the video on his site, www.theblacklantern.com, on Sept. 14. In 48 hours, he said, thousands of people had downloaded the video, even as other sites also made it available. Franklin Lopez, a filmmaker, created another video to the song, available at submediatv.com.
"It's very hip-hop, baby," said the rap personality Fab 5 Freddy, who said he sent the Lee video to dozens of his friends. "It's taking something that's out there and turning it into something new - getting your thing out by any means necessary."
©2005 by New York Times
In accordance with Title 17 U.S.C. Section 107, this material is
distributed without profit to those who have expressed a prior
interest in receiving the included information for research and
Special request from Lisa Haley & the Zydekats
Many hurricane survivors are now trying to start a new life.
If you have been looking for a way to help,
but don't want to use an impersonal relief organization,
Here is an opportunity.
The Nocentelli family is one of these in need.
Leo Nocentelli, of the group "The Meters" (who invented the 'New Orleans
Funk' sound) has 12 family members who just arrived at his home in Los
Angeles. They escaped from New Orleans with only the clothes on their
backs. Their homes in Louisiana went underwater.
The Matriarch of the family is Roslyn Nocentelli Flot, Leo's sister.
There are currently 12 family members staying together in two rooms at a
There are 7 adults and 5 children.
They are aged 5 months to 85 years old!
Their Red Cross hotel voucher runs out Oct 2.
They have a lot of clothes and food donated by the Salvation Army,
but now they must completely start over.
Their immediate needs are:
- more permanent living quarters
- Jobs (see below)
- a car
Bank of America, after securely verifying their situation,
Has set up a non-profit, tax-deductible account for the family:
checks can be made directly to "Flot-Sykes Family Fund"
account number: #0458-041549
Can be deposited at any B of A
This is a tax-deductible, charitable donation. To send bank wires,
contact any B of A for details.
Roslyn Nocentelli Flot: scriptwriter, record producer.
Bionca Flot Sykes - open for various jobs
Her husband Alex Sykes - is a supervisor for a plumbing/ sewage company
Windy Flot Fleetwood - various jobs, administrative.
Her husband Dustin Fleetwood - certified in Pro Tools, editing films,
television, music recording engineer
These are hard-working, honest people just like you and me, who are
overwhelmed by this disaster.
Imagine losing everything including your neighborhood, job and friends.
Please keep them in your prayers, and
Thank you all so much! who are able to help the Nocentelli family.
pass it on!!
Thank -You so much for all that your doing may God
bless you each and everyday!
(Source: 2005 Punmaster's MusicWire
Please pass on free subscriptions to the MusicWire to friends, associates,
and colleagues by sending an email including a first & last name to
email@example.com with the word "subscribe" in the subject.
Stay informed and stay in tune!)
Announcing The Music Press Report.
The Music Press Report is the official publication of The Association of Music Writers and Photographers. It's your daily dose of music press news, articles and resources.
So you might have to register to read the whole thing ... this snarky I mean well-written report from the Georgetown Voice is worth it. (Otherwise, the Saturday reading room is fresh out of reads for you today).Fear and Loathing at CMJ
By Tim Fernholtz
There's a certain point during a live show -- when the bassist drops his instrument on the stage in front of you, falls down in his beer and starts yelling -- when you know whether or not you were made for rock music. It is three hours later, when some dick from SPIN magazine with a terrible beard and a vintage blazer is joking over drinks with a label guy about some band "one part Interpol, two parts Neutral Milk Hotel, with the mass appeal of the Stones," that you wonder if rock music was made for you.
Hunter S. Thompson once called the music business "a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. There's also a negative side." Believing this to be not only true, but worthy of reporting, The Voice (and WGTB Georgetown Radio, where I am a music director) sent me to New York City with a pass for the College Music Journalism Music Marathon, a four-day event with 1000 bands, panels for the career-motivated and thousands of music scene hangers-on. It was time to get past the strange haircuts and find out what made indie music, well, independent. Or music, for that matter.
Rock guru brings a radical perspective to Tovey chair
By KENNETH WALTON
"THERE'S a delicious irony in the recent announcement of Simon Frith as the newly-appointed Tovey professor of music at Edinburgh University. Frith, a sociologist who gained his PhD from the University of California with a thesis on elementary schooling in 19th-century Leeds, and who is currently professor of media and film at Stirling University, is probably best known among those of a certain age for his engaging newspaper columns of the 1970s and 1980s on pop.
He was the first rock guru to bring serious thought on the subject to the serious papers - principally as pioneer pop critic on the Sunday Times, later the Observer, and writing more recently in The Scotsman. He told us then, and he'd probably tell us now: pop is with us, it's here to stay, so you'd better just get used to it.
Placing someone of such a populist, broad-minded bent on the Tovey chair is bound to get the Morningside chattering classes spluttering into their sherries. After all, its legendary donor, Donald Francis Tovey, was an old-school Oxbridge academic of the first order. His Edinburgh University classes in the early 1900s were an institution (even earning an honourable mention in Muriel Spark's The Prime of Miss Jean Brodie); his erudition beyond reproach; his analytical writings rigorous to the point of grandiose prolixity; his directorship of the famous Reid Orchestra, dictatorial; and his own compositions were monolithic examples of the great post-Brahmsian Teutonic lineage.
Tovey professors at Edinburgh have generally been musicologists firmly focused on the past - entrenched in the mysteries of 16th-century counterpoint or unravelling a symphony through Schenkerian analysis. Frith knows plenty about such things - "my musical tastes are totally and utterly eclectic," he declares - but he's more interested in music's place in society. "His musical knowledge", a former Scotsman arts editor told me, "is encyclopaedic."
Frith began writing on popular music culture while he was a sociology graduate student in America. It was the era of the groundbreaking Rolling Stone magazine. "I felt I had developed the confidence to write on rock as well as anyone else," he recalls. Rock critics were few and far between, so he was among the first.
Frith has produced books on the subject with impressive regularity, ranging from The Sociology of Rock through Music and Copyright to editing The Cambridge Companion to Rock and Pop. Performing Rites, published in 1998, is a remarkable exploration of how society functions in response to music and performance across the genres of folk, classical and pop music. The sociologist in Frith is never far from the surface.
"Over the last ten to 15 years, I've found the distinction between musicology and sociology difficult to maintain," he says. Which is why he is quite comfortable with a career that has taken him from sociology lecturer at Warwick University (1972-87), via chair of the Department of English Studies at Strathclyde University (1987-1999), and film and media professor at Stirling, to his new post at Edinburgh, which he takes up in January.
Frith's appointment is a radical change for Scotland's oldest surviving university music department, which the classical conservative set will view as just another stage in the so-called dumbing down of traditional classical music education.
But we shouldn't confuse the general lowering of expectations in musical education, particularly in schools (although that has its knock-on effect on the standards of university entrants), with an inspired move by Edinburgh University to broaden the department's research and teaching base, and to provide a breadth of expertise capable of servicing music's wider range of contemporary interests.
Leeds University already offers degrees in popular music running parallel to its traditional classical training, and Liverpool's Institute of Popular Music is part of its university music department. There are also established courses in Newcastle, but Frith's professorial appointment in Edinburgh represents a pioneering step for Scotland. As well as triggering the re-instatement of the Tovey chair - which has gathered dust, unfilled, for nearly a decade - it is, I believe, a sign that the university's music department, still smarting from its recent loss of faculty status and the stripping away of its historic Reid Library, is planning a vigorous future.
Two interesting and influential figures now head it. Alongside Frith is the existing Reid professor, Nigel Osborne, a composer whose music-based projects in such war-torn countries as Bosnia and Croatia, geared to rehabilitating refugee children and reconstructing whole education systems, are at the forefront of research into learning through music. Osborne recently established a unique new research base at Edinburgh centred on the benefits of music-driven therapy.
Frith acknowledges there will be tensions over his arrival. How long will it be before he is labelled the pop professor? "Classical musicians will have skills I don't have," he says. "What I can bring is a sociological perspective on music making, through my experience in the business of judging music, and the knowledge I have of music policies and copyright".
It will be interesting, too, to see what influence he brings to bear on traditional historical music research and formal undergraduate teaching. You only have to look at recent books on age-old subjects - Jane Glover's newly-published Mozart's Women, for instance - to detect a greater interest by musicologists in the wider sociological factors that drove the great composers and their music. Frith believes firmly that to understand art, you need to understand the people who created it and the society they lived in.
His aspirations, however, extend beyond the purely educational. Frith sees his new position as "an ideal base from which to establish debate". "Edinburgh is central to the culture of this country," he says. "Scotland is desperately in need of a coherent music policy. There is so little political interest." It's one of his key ambitions to see that changed. We desperately need someone of influence and intellectual weight to tackle that issue. A century ago, Tovey would not have been backward in expressing his views. Could Frith be the man to argue music's case in 21st-century Scotland? By January, if he wishes, he'll have the platform to do it."
(The Scotsman, Mon, Sept 19, 2005)
Saturday Reading Room is Open
(Or at least a book review by Richard Hyatt, ledger-enquirer.com)Hank Williams' 'Lovesick Blues'
Paul Hemphill writes about Southerners with grease under their nails, whiskey on their breath and a chip on their shoulder -- the same blue collar folks who thought Hank Williams was singing about them.
Williams wrote lyrics and Hemphill writes books. His latest is "Lovesick Blues" and it tells Williams' story as it has never been told before.
Like its subject, this book is simple and raw, tracing the life of a country singer who lived out his lyrics, drinking himself to death at 29.
"It was like he was reporting on his life as a journalist," Hemphill says, describing those mournful lyrics.
Williams would have been 82 today. He died New Year's Day 1953. Yet today birthday parties for him are being thrown in Canada, Australia and his native Alabama.
Williams' music lives on, and Hemphill brings to life the man who made that music.
"It's one good old boy writing about another good old boy," said Sterling Lord, the author's agent and the person who suggested this book.
The result is magic. Listen as Hemphill describes his feelings when he discovered Williams' tortured voice as a boy in Birmingham.
"Hank Williams had come to us from out of nowhere -- sprouting like a wild dandelion in the dank forests of south Alabama, some primordial beast who had been let loose on the land, a specimen heretofore undiscovered -- and by this summer of '49 nobody seemed to know exactly what to make of him."
Hemphill understands the enigma that was Hank and explains why this uneducated son of a an Alabama logger remains important -- though he couldn't read a note of music.
"He had no musical tricks up his sleeve, wouldn't know a simile or a metaphor unless somebody spelled it out for him, hardly knew a flat note from a sharp... Onstage and in the studio, he was doing what came naturally: desperately telling the story of his life, which kept getting worse. If he had a genius, it was for simplicity."
Hemphill understands because he's been there, suffering years of alcoholism before finding recovery. He's well acquainted with the despair that alcoholics use as a chaser.
"Hank and me both knew the bottom of a bottle," Hemphill says. "We were sensitive and bruised easily too. Eventually, like most alcoholics, we turned it on ourselves."
In "Lovesick Blues," Hemphill is at his best.
"If you were king of the world and could pick out the best author to write a biography of Hank, it would be Paul," Lord said.
On that, Old Hank would agree.
(p.s. Twenty or so years ago, out of Canada came a great film called "Hank Williams: The Show He Never Gave". Try to find it if you can. bf)
Photo tribute to the musicians of New Orleans and Louisiana
And ways you can give targeted help to them
(via globalmusic list)
A Chet Helms Tribal Stomp
Produced by: Family Dog
Date: Sunday, October 30th, 2005
Location: Speedway Meadows, Golden Gate Park
Time: 10am to 5:30pm
Bands: Nick Gravenites, Harvey Mandel, Taj Mahal, Dan Hicks and the Hot
Licks, Charlatans, Terry Haggerty (Sons of Champlin), Zero II, Melvin Seals,
Paul Kantner (Jefferson Airplane, Jefferson Starship), Barry Melton (Country
Joe and the Fish), Blue Cheer (Dickie Peterson, Leigh Stephens), Jorge
Santana, George Michalski, Greg Errico (Sly and the Family Stone),
Quicksilver Gold, Canned Heat, Jeff Blackburn, Howard Wales, John McFee,
Peter Rowan (Rowan Brothers), Richi Ray Freedom Highway, Ray Manzarek (The
Doors), Vince Welnick (The Tubes and Grateful Dead), David Denny (Steve
Miller), Peter Kaukonen, Iron Butterfly, Sammy Hagar, Herman Eberitzsch (Lee
Oskar, War), Ross Valory (Journey), Big Brother, Ace of Cups, War
Chet Helms was one of the founding fathers of the psychedelic movement from
the 1960's. As promoter for the "Family Dog", Chet developed the concept of
the modern rock concert and was one of the founding fathers of the 1960's
peace movement that swept the nation and made waves around the world. Chet
was also the catalyst that brought together Janis Joplin with Big Brother
and the Holding Company, which helped shape the San Francisco sound.Â
Without Chet Helms, as many have said, there would be no Grateful Dead, no
Jefferson Airplane, no Big Brother and the list goes on and on. He promoted
other acts like the Charlatans, the Great Society, Jimi Hendrix, The Doors,
Peter Tosh, The Clash and countless others.Â Chet Helms continued promoting
pivotal concerts through four decades. In the 60's at the Avalon Ballroom,
Family Dog at the Beach, S.F. Golden Gate Park, Denver Dog, and Crystal
Ballroom in Portland.
Anyone wishing to be involved may contact:
Family Dog Presents
2b1 Multimedia Inc.
San Francisco, CA
(415) 861-1520 or by email:
(thanks to David Gross of Punmaster and Bob Sarles for this)
Dedicated to the notion that We Won't Forget
And brought to you as a descendent of the olde-tyme Community Memory Project, here is a required read for all concerned citizens:Katrina Timeline
A Note About Hurricane Housing
Subject: Emergency housing drive at www.hurricanehousing.org
I'm sure you've seen the horrifying images on TV of destruction left by Hurricane Katrina, and the many, many people left with nowhere to go.
You can help. MoveOn.org just launched a website, www.hurricanehousing.org, to connect your empty beds with hurricane victims who desperately need a place to wait out the storm.
You can post your offer of housing (a spare room, extra bed, even a decent couch) on http://www.hurricanehousing.org or search there for housing if you need it.
MoveOn will pass requests from hurricane victims or relief agencies on to volunteer hosts, who can decide whether or not to respond to a particular request. The host remains anonymous until they reply to someone looking for housing.
I just posted my own offer. I hope you will too, or pass this on to people you know in the Southeast:
Housing is most urgently needed within reasonable driving distance (about 300 miles) of the affected areas, especially New Orleans.
An SOS from the Soul Queen of New Orleans
By IRMA THOMAS
I am doing as well as expected under the conditions. I am in Gonzales, LA
with my husband's Aunt. CounterPunchers may send some money to help
my daughter who lost everything. She is out here with my sister-in-law
untill she can get fare to go to California, until we can get back into New Orleans.
I am doing okay for now but I don't know how long it will be before I
can get help from FEMA. Thanks for being concerned.
You may send help to:
P.O. Box 1274
Gonzales, LA 70707-1274
Tell all of my Fans I thank them.
(Recording legend Irma Thomas is revered as the Soul Queen of New Orleans.)
[via world music list]
A bit more on two of the relief groups on the list below:
Message from Wendy Oxenhorn Executive Director at the Jazz Foundation
Two Organizations helping the musicians in New Orleans:
We are directing folks to the New Orleans Musicians Clinic (NOMC) which
has the names and addresses of so many musicians in New Orleans, and are
working now to find them and find temporary housing for them in schools etc.
But let us remember...
... it will be the Jazz Foundation who will be called upon to provide
money to the musicians for first month rents and security deposits on new
apartments and relocations. As well, we're going to try to get instruments
Please let your contacts know if you think they can help, ask them to
Two great organizations to donate to:
New Orleans Musicians Clinic (NOMC)
This is a fantastic hands on organization who has the names and
addresses of so many great musicians because they have them all coming to their FREE
health clinic all these years and now, they are the ones who are
tracking down the local musicians and finding them shelter.
They can be contacted at firstname.lastname@example.org
They are the New Orleans Musicians Clinic and know the whereabouts of
the local musicians down there.
Contact: Kathy Richard directly at 337 989-0001
Send donations to:
NOMC Emergency Fund
funds will be distributed by:
SW LA Area Health Education Center Foundation, Inc.
103 Independence Blvd.
Lafayette, LA 70506
The New Orleans Musicians Clinic is determined to keep Louisiana Music
Alive! It is our beacon to soothe our souls. We want to relocate our
New Orleans musicians into the Lafayette/ Acadiana community where they can
remain a life force! But most of them have lost everything... we must
help them rebuild their lives.
They can't access any of their NOMC accounts. They desperately need
money to fund these efforts.
Jazz Foundation of America:
We will be addressing the longer term needs of these jazz and blues
artists who will have just lost everything.
We will be raising funds and distributing money for the musicians to
get a new apartment or room for rent: by giving a first month's rent,
possibly more, for them to start over, a place to live. (This is what we
normally do on a daily basis for musicians across the country who become sick and
can't pay their rent, we also keep food on the table and get employment to
hundreds of elderly musicians through our Jazz in the Schools program.
Our operations normally assist 35 musicians a week.)
As well, we will be attempting to help New Orleans musicians by
replacing most and the only way they can ever work again:
their instruments. To those who lost their instruments, like drummers
and bassists who could not carry their heavy equipment, and guitarist with
their amps, we will be making an effort to work with manufacturers and music
stores to replace those instruments for as many as we possibly can.
Remember, New Orleans was only "New Orleans" because of the
Send donations to:
Jazz Foundation of America
322 West 48th Street 6th floor
Director: Wendy Oxenhorn
Phone: 212-245-3999 Ext. 21
email contact: Joyce@jazzfoundation.org
To make an online CREDIT CARD DONATION OR PLEDGE:
go to: http://www.jazzfoundation.org/index2.html
and click bottom right corner of page where it says "instant pledge"
Thank you, from our hearts.
Source: 2005 Punmaster's MusicWire http://www.punmaster.com
Please pass on free subscriptions to the MusicWire to friends,
associates, and colleagues by sending an email including a first & last name to
email@example.com with the word "subscribe" in the subject. Stay
informed and stay in tune!
Music News from and about China
In case you live outside of the live broadcast area in the Eastern time zone, which it would appear is just about everyplace else, which you will agree makes a very large geography indeed for which NBC edited out Kayne West's unscripted remarks prior to rebroadcast in those locales, and should you happened to have missed the USA Today explantory article about the sonic cleansing, China Daily fully reports that "NBC's live hurricane benefit has music, criticism".
Elsewhere, the Electric New Paper reports there were no surprises at the 5th Global Chinese Music Awards this year.
Nearly everyone left a winner, with almost all nominated stars walking home with a trophy. Me, I kind of like that idea -- that if but one day a year, at least on that day almost everyone is a winner.
Music industry in disarray after the storm
By Bill Werde
Saturday, September 3, 2005; 11:32 AM
NEW YORK (Billboard) - As flood waters rose in the days after Hurricane Katrina's August 29 rampage through New Orleans and the Gulf Coast, so too did concern for the myriad musicians, business associates, friends and family in the region.
The scope of the loss and tragedy Katrina caused is clear: It will be years before a locale renowned for its entertainment industry is back to business as usual -- if it ever is again.
For the music industry, the top priority became tracking down the missing. Reports began to surface that Antoine "Fats" Domino, songwriter Allen Toussaint (who penned Patti LaBelle's hit "Lady Marmalade") and others had not been heard from since Katrina touched down. On Friday (September 2), Domino, the 76-year-old Rock and Roll Hall of Fame member, and his family were reported safe, having been rescued by boat from floodwaters near their New Orleans home.
The Neville Brothers, long associated with New Orleans, were fine, but Charles Neville could not locate his three daughters.
But it was not just well-known musicians who were missing or displaced. The Gulf Coast, and in particular the New Orleans region, is also home to a thriving community of local musicians who make a living playing jazz, zydeco and Cajun music, especially for tourists.
"I just can't get ahold of anyone," said Jonno Frishberg, a 45-year-old fiddler who earns his livelihood playing Cajun music gigs. "You're talking about a whole community of musicians like me, with no unemployment insurance and no way to make a living." Frishberg and his wife and two children are all safe. "If I didn't have kids, I'd be looking to head far away from here," he says. "I'll still have to go on the road to make a living. I'm just looking for a way to feed my family."
On Wednesday evening (August 31) retail music chains were still scrambling to learn of their employees' well-being, while wholesalers said they had not been able to get through to check on their independent accounts.
"We are in contact with our management team there, but we are still trying to track down our employees," Tower Records senior VP of operations Bill Duffy said. "We have heard from about half of them."
Phone calls to independent stores in New Orleans; Biloxi, Miss.; and Mobile, Ala., either went unanswered or offered only a busy signal.
"We have been unable to get through to any stores in New Orleans," Super D indie sales manager Mark Grindle reported. "We don't know how they are."
As for the retail locations themselves, executives contacted by Billboard were assuming the worst: that the stores were flooded, with massive damage to merchandise.
The shape of live entertainment in the region will be affected for months, if not permanently.
Among the large venues in the region hit by Katrina are the Superdome, New Orleans Arena and Keifer UNO Lakefront Arena in New Orleans; the Cajundome in Lafayette, La.; the RiverCenter in Baton Rouge, La.; the Mississippi Coast Coliseum in Biloxi; the Mitchell Center and Mobile Civic Center in Mobile, Ala.; the Pensacola (Fla.) Civic Center; and the entire Mississippi Gulf Coast casino market.
Home to dozens of thriving music venues, New Orleans is also home to promoters Beaver Productions and Superfly Presents, as well as the site of the New Orleans Jazz & Heritage Festival and the flagship House of Blues club. "We believe everyone is safe," HOB's Kevin Morrow said; as of Wednesday, his club was still dry. "We are looking to relocate some people until we can figure out how long it will be till we can start operations again," Morrow said.
"It's going to be a long road," said Don Fox, president of Beaver Productions. "There won't be any concerts in New Orleans for a while, at least three to six months."
Katrina made a substantial impact on the radio business in and around the Gulf Coast as well. Entercom closed two of its four stations in the area and received assistance from competitor Clear Channel, which used a helicopter to help evacuate Entercom employees from downtown New Orleans.
Broadcasters Clear Channel, Entercom, Citadel, Apex, and the Louisiana State Network have partnered to form the United Radio Broadcasters of New Orleans. Clear Channel VP of news/talk programming Gabe Hobbs and Entercom VP news/talk Ken Beck combined their staff to produce news that will be broadcast over nine surviving radio stations in the stricken city.
Many in the music industry not directly affected by the hurricane set about to assist the victims. Some of the higher-profile efforts included a September 12 Dave Matthews benefit concert at Red Rocks Amphitheatre in Denver; a September 10 special on MTV, VH1 and CMT; and "A Concert for Hurricane Relief," an hour-long TV special scheduled that aired Friday (September 2) on NBC, MSNBC and CNBC, featuring Tim McGraw, Harry Connick Jr., Wynton Marsalis and others. "Our city will come back, but it will take the entire country," Marsalis said. "When you take New Orleans from America, our soul equation goes down."
Marsalis and special guests will highlight the Higher Ground Hurricane Relief Concert, to take place September 17 at Rose Theater in New York. The event will be recorded by Jazz at Lincoln Center. A CD from the event will be released by Blue Note Records with all profits going to relief funds.
Putumayo World Music is also donating proceeds from the sale of two records, "New Orleans," and "Mississippi Blues," to relief efforts, through year's end.
In the digital realm, Napster began selling a "Download to Donate" compilation September 1, with profits going to the American Red Cross. CD Baby, where thousands of independent artists sell their music online, set up a special page to sell CDs from those who wanted their profits to go to the Red Cross.
And on radio, Clear Channel stations are airing PSAs directing listeners to stormaid.com, where they can make donations to the American Red Cross. In addition, Clear Channel Entertainment is organizing benefit concerts and collection drives.
In New York, the rapper Juvenile broke down at a Thursday (September 1) press conference announcing a September 9 telethon on BET. Juvenile lost his house in New Orleans and had yet to locate certain family members. The clothes he wore had to be purchased by his publicist, and his label, Atlantic, had been wiring money to his family, who lost everything in the floods. "Like the effort we put toward war and the tsunami," a red-eyed Juvenile said, "We need to put forth the same effort to saving our own country."
Master P, rapper and head of the label No Limit, was also at the press conference, and also lost a home. Master P launched the organization Team Rescue (teamrescueone.com) to get supplies to those left in New Orleans.
And while the various factions of the robust New Orleans hip-hop scenes had been competitive in the past, Master P said he plans to do an album and tour with members of the Cash Money label and Juvenile. "It ain't about No Limit or Cash Money," Master P said. "It's about New Orleans. We'll do whatever we have to do for our people."
Displaced New Orleans Musicians supported by NOAH
Everyone knows that a huge part of New Orleans' culture is its music. But how can this be preserved so that it will be ready when the city rebuilds? A group of Houston musicians led by prominent pianist Paul English, vocalists Gigi Hill and Tianna Hall, Johan Keus and others have formed a group called "NOAH" (New Orleans and Houston) whose mission is to reach out and support the displaced New Orleans musicians by providing them with housing, venues in which to perform, instrument replacement, etc. The project is named: SHONOF (pronounced “sho’nuff”: Safe Harbor for Our New Orleans Friends).
Primary goals are:
1. To contact New Orleans musicians, wherever they are, and let them know there is a support group in Houston ready to help them, provide housing, get gigs, etc.
2. To line up apartments, rooms, etc. for these people to live in until they can get on their feet.
3. To organize an instrument clearing house whereby the musicians can get access to needed instruments in order to perform and make a living.
4. To urge local venues--clubs, restaurants, hotels, etc.--to expand their use of live musicians.
5. To organize and hold benefit concerts featuring the New Orleans musicians, supplemented by the best of Houston musicians, to raise money to help the musicians and the project.
6. To share their current gigs with the New Orleans musicians, either by adding a player or two to their performing group or by relinquishing an entire gig.
While several government agencies and aid groups are focused on the thousands of people at the Astrodome and elsewhere, this important segment is largely ignored. It is NOAH's aim to not only help from a humanitarian standpoint, but to preserve an important part of the New Orleans culture and music scene.
The concept, barely two days old, has started catching on like wildfire. MSNBC has already contacted them, but more publicity is needed. A few musicians from New Orleans have landed in Houston but hundreds more have likely scattered and may welcome a chance to come together in a more cohesive environment. Besides, it makes for a very interesting story in the midst of this monumental tragedy.
Gigi Hill may be contacted on (713) 503-3518, firstname.lastname@example.org. Their new website is www.noahleans.org
(via World Music List)