SHOW US THE MONEY, PART II
As the President of the Board of Directors of the New Orleans Jazz & Heritage Foundation, I am writing to clarify for your readers some of the points raised in your June issue regarding both the Foundation and the New Orleans Jazz & Heritage Festival (Mojo Mouth, “Show Us The Money”).
The Jazz & Heritage Foundation is a small, private, nonprofit organization. The total net assets of the Foundation as of June 30, 1999 were only slightly more than half the money required to produce even one New Orleans Jazz & Heritage Festival. (This information, along with a statement of our 1998 financial position, was published in April in our annual report. The financial report is based on our annual audit.) The National Nonprofit Finance Fund recommends that a foundation’s assets be three times the amount of annual expenditures.
Thanks to great weather, the superior job done by Quint Davis and Festival Productions, Inc. New Orleans, the strong leadership of the Foundation, the continued support of the Festival by the citizens of New Orleans, and the support of great corporate partners such as Acura, Miller and many others, Jazz Fest 2000 was a total success, financial as well as artistic.
Some of the funds will be spent on the Foundation’s projects and programs that you outlined in your column: the Heritage School of Music, WWOZ, street festivals, community grants, the entrepreneur S.E.E.D. program; the Jazz Journey series and the Musicians’ Clinic. Additional programs such as the subsidy of most of the police fees for the Social Aid & Pleasure Club parades, the Tom Dent/Congo Square Lecture Series, and a new program called the Musicians’ Housing Initiative, which will assist local musicians in making their way through the home-buying process, will also benefit from these funds. (Visit nojhf.org for more information on some of our programs.) All of these programs are representative of our ongoing mission to preserve and promote the great culture of our region. The remainder of this year’s funds will go toward insuring the Foundation’s ability to produce future festivals.
It’s important to note that the New Orleans Jazz & Heritage Foundation receives no public funds. The Foundation relies entirely upon its own means to produce the Festival, which benefits all of those involved in the local music industry–including the publisher of this magazine–and much of the rest of the New Orleans business community as well, to the tune of approximately $300 million dollars every year. That’s an impressive thing for one small foundation to do for the entire New Orleans community.
Finally, a comment on the size and growth of the event. We believe the current size and scope of the Festival is a result of its natural evolution. The large size of the event, objectionable to some, is quite possibly a measure of the importance of our culture to the world. The continued growth of the event can only mean that more and more people are attracted each year by our music, food, crafts, and incomparable instincts for public celebration. They want to join us–the great citizens of New Orleans–to see, hear, taste, experience what Louisiana has to offer. The New Orleans Jazz & Heritage Foundation is here precisely to encourage them to do just that. Sincerely.
–Judge Michael Bagneris, President, New Orleans Jazz & Heritage Foundation, Inc.
The Jazz Fest is important to our local economy and has indeed benefited OffBeat, and by extension its employees. But the New Orleans Jazz & Heritage Festival also benefits from local businesses, such as OffBeat, that promote the music, food, culture, and the Festival itself consistently all year long. Although the Foundation relies entirely upon its own means to produce the Festival, it’s the local music industry–including OffBeat, local musicians, restaurateurs and the rest of the New Orleans business community, through their support–that enables the Foundation to attract great corporate partners such as Acura and Miller. We recognize that the support and goodwill that the local business community affords the Foundation is in large part the result of the outstanding job done by Quint Davis and Festival Productions.
The question we asked, “how exactly is the profit [income] generated by the Festival used by the nonprofit Jazz & Heritage Foundation” has been addressed in Judge Bagneris’ letter. The bigger question “show us the money” has not. The financial statements provided do not include a “profit and loss” or “income and expense” statement. They do include a “balance sheet” which reflects the Foundation’s assets and liabilities at a point in time. These statements reflect that assets at a point in time in 1999 were $4,929,888 and in 1997 were $3,280,484, representing growth of $1,649,404 for those two years. The public is unable to determine how that growth of nearly $2-million occurred. Did, for example, income equal $100-million and expenses equal $98-million? This would result in asset growth of $2-million. If so, how was the $98-million spent? We know from Judge Bagneris’ letter the various beneficiaries of the Foundation’s funds. But we don’t know exactly how much money these beneficiaries received and if collectively they received the entire amount (in our example, the $98-million, representing the expense). We believe that negative speculation regarding this issue would stop and would help generate further goodwill from the community if the Foundation would make these numbers public.
It is interesting to note that the Foundation is not in compliance with the recommendations of the National Nonprofit Finance Fund, which recommends assets be three times the amount of annual expenditures. The question one may ask is why compliance has not been achieved. That question could also be answered if the Foundation would publish their income and expense statement. This would show the public exactly how much money is received and more importantly, how much money is spent and, what portion of it is pumped directly back into the community.–Ed.
MASSES IN THE GRASSES
Thanks to OffBeat once again for the “Jazz Fest Redux” piece in the June issue. Not only does it inform us about some of the great sets we might have missed, but it helps us revisit some of the truly magic moments, not unlike recounting the different elements of a great meal. Of course, there are occasional parts of a meal that revisit you whether you want them to or not. The Acura siege of Jazz Fest has left us and our Jazz Festing friends with a bad taste in our mouths and our hearts. First, the Gospel Tent was moved out to the parking lot so that an Acura showroom could be built in its place on the grass infield. Isn’t it obvious that cars belong in the parking lot and gospel belongs to the masses in the grasses?
The stage, which now looks like the Goodyear Blimp hangar, hosted a fair amount of pedestrian crapola (Sting & Lenny Kravitz come to mind–both make the occasional good CD, but have no business taking valuable stage time away from all the greats that we can only see in New Orleans). And worst of all, Professor Longhair’s musically benevolent visage has been removed to make way for–yes, you guessed it–the Acura logo. Yecchh.
Please, Jazz Fest honchos: don’t let the Acura gorilla stomp all over your wonderful party just for the sake of a free car. Keep up the great writing, OffBeat!
–Maria & Phil Foster, via email
FAN CLUB
Hello! We are two fans of your Festival.
We vote for the CD of the month: Coco Robicheaux: Hoodoo Party (Orleans Records).
Au revoir to Jazz Festival 2001.
–Mario Ferri, Bergamo, Italy
METAPHORIC
How goes it? Jazz Fest has come and gone–long hot summer just ahead. Usually after a couple of weeks I’ll have enough time to ponder my Jazz Fest experience and write you guys a rambling diatribe. This year a photo is all I need. It seemed that the cell phone action this year was a metaphor for what Jazz Fest has become: boorish, trendy, and at times annoying but also something once you’ve had, you can’t quite cut loose. See you next year. P.S. The Brazilians were wonderful. Let’s do dem again.
–Walt Miles, East Lansdowne, PA
POINTLESS
Just for your information–if I was going to the Jazz Fest, your magazine arrived a week after it started! What’s the point?
–Barry Yantis, St. Joseph, MO
THE LATEST GUMBO
Hello down there! Thanks for your prompt response to my back issues. I received them yesterday in the mail and I catching-up on the latest gumbo for my mind while playing that great Galactic disk! You and OffBeat are the best! Keep up the great work! Missin’ Nawlins greatly.
–Mark Connor, Bend, OR
GRAZING ARIZONA
First off, I just discovered your site and I love it. I will definitely be a regular visitor…
One comment I have so far is that I was going through “LA Music On Tour,” and found that there was no mention of Rosie Ledet’s concert date of May 19th in Tucson, Arizona.
I am from Tucson, and I am going to see Ms. Ledet this Friday, and would also like to be able to check your site for other concert dates in my area. Is this going to be realistic?
Also, how “complete” is the listing? I didn’t see the Neville Bros. Included on the list. Are they not touring at all in May?
I would really appreciate a response, so I can get this straight.
–Margot, via email, Tucson, AZ
P.S. Where could I pick up a back issue of the N.O. Jazz Fest issue of OffBeat? I would also like to be able to buy future issues. Are they sold anywhere in Tucson?
Enjoy Rosie in Arizona! We get information for Louisiana Music on Tour from many sources: musicians, agencies, trade publications, record labels. Apparently Rosie’s management didn’t inform us in time for publication. A note to all Louisiana bands: make sure we know you’re on tour. When you’re traveling on tour outside Louisiana, email your itinerary to [email protected]. Copies of OffBeat can be purchased at Tower Records outlets around the planet. The nearest locations to you are in Mesa, Arizona and Tempe, Arizona, which are, unfortunately, both approximately 100 miles away. Perhaps a subscription might be your best bet.–Ed.
THE GERMAN PROBLEM
Hi folks, in the festival issue I found these nice funky OffBeat T-shirts. I’d like to get 3 XXL shirts. The problem is I live in Germany. How can I get them, with my credit card? Please let me know.
Thanks again for the best music-magazine in this world. I couldn’t come to this year’s Jazz Fest (I`ve been in Nawlins for Mardi Gras) but I will be back next year. Z ya all soon.
–Helmut from Kiel, Germany
OffBeat has produced three extremely funky T-shirts (see “Please Mr. Postman” for details) bearing the slogans “Funkier Than Thou,” “NewOrleans:Proud To Call It Funky,” and “Funk Off!” We gladly accept credit cards and guarantee that these shirts will make you attractive to the opposite or same sex, whatever your preference. – Ed.
SURVIVALIST
WTUL would like to thank OffBeat for its sponsorship of our 30th Annual Rock On Survival marathon in March. With this year’s marathon contributions, we were able to make a large stride towards our largest purchase ever–a new transmitter.
WTUL is an important part of Tulane University’s student experience and an important musical contribution to New Orleans’ rich musical heritage. Again, we thank OffBeat for helping WTUL with your donation this year and hope that we can work together again next year during the Marathon.
–Kelli Fannon, WTUL General Manager
MEDICINAL
Recently and quite unexpectedly, I had a heart attack. I am now recovering and thinking that this weekend I was supposed to be in New Orleans and shortly would have been having brunch, watching the Zion Harmonizers. Hey! It’s nice just to be alive and thinking! Well, I’m reading OffBeat and listening to WWOZ on the internet at the moment. OffBeat, thanks again for giving us all the “feel” of the Crescent City. It is indeed the healing medicine for me.
–John Donabie, CFRB Radio, Toronto
HERO WORSHIP
Please send me the Festival 2000 Poster signed by Ernie K-Doe and, hopefully, also Bunny Matthews–two of my very favorite Crescent City heroes.
Sorry I was not at Jazz Fest, thus the Rock ‘n’ Bowl, this year to get the autographs personally.
Keep up the excellent work with OffBeat–the finest publication of its kind anywhere. You really outdid yourself with this poster.
–J. Walker Coleman III, Charleston, SC
VISIBILITY
Thank you for the fantastic article in OffBeat. It was such a treat to be honored like that in such a visible place!
–Ann Savoy, Eunice, LA
MYSHKINFOLK
Thanks for the rather glowing review of my latest record Why Do All The Country Girls Leave? (May 2000). I hope you will allow me this space to correct a few inaccuracies in the piece. The album is not my second, but my fifth, the first three being: Slate, Dr. Plague and Other Lullabies, and Econoline. And the band on the album is not the Mike West Band (which I also play in), but Myshkin’s Big Bang Dance Band. The band includes Mike West on strings, Matt Perrine on bass and horns, Scott Magee on drums, and guest spots by Oliver Steck on trumpet, accordion and B-3. All great players deserving mention. Thanks for spreading the word.
–Myshkin, New Orleans, LA
A JOYFUL ACT
Heard the news about Richard Payne’s passing and just wanted to say a couple of things about what he and his music meant to me and maybe to others. First, the making of music is a joyful act, and should never be anything but, and second, one should strive to be the best musician one can be. Thanks Rich. We are sure gonna miss you.
–Dan McNaughton, Ypsilanti, MI
APPRECIATIVE
I’m sure you must be aware of the passing of a wonderful man and musician, as well as my dear friend, Warren Ceasar. He died unexpectedly of an aneurysm on May 10th at his home in Carencro.
Just thought you might want to pay tribute to him in your next issue. He was a very unique Louisiana talent and loved his Creole heritage. He touched my life and taught me appreciation of Louisiana heritage.
–Rick “T-Richard” Reid, Dallas, TX
MO’ MONKEY BUSINESS
In your October ’99 reply to the letter, “MONKEY BUSINESS,” you said the song “They All Ask’d For You” was based on an ancient New Orleans nursery rhyme.
I’m a kids’ book author/illustrator and I’d like to know where can I get more info about that rhyme in particular, and NOLA nursery rhymes in general?
–Karen Ehrhardt, Stanford, CA
In 1975, as the Meters were completing the tracks for their Fire On The Bayou album, it was determined that an additional cut needed to be included. Zigaboo Modeliste, ever the humorist, proposed “They All Ask’d For You,” a ditty he recalled from childhood. Curiously, the Meters’ version–a veritable afterthought–emerged as one of the band’s most popular songs, as well as being utilized by the Audubon Zoo for its television commercials.–Ed.
FOH FYI
Is it just coincidence that two major music venues in New Orleans, House of Blues and Tipitina’s have black men doing FOH [“Front Of House,” in control of sounds heard by the audience]? For a long time the stereotypical idea of a sound guy was the tattooed hippie types. Most of the black guys wanting to learn sound were basically sent to unload trucks or some other mindless task. The reason is basically no one would take the time to mentor these people. The fact that these two music venues consistently have national and international acts and the quality of the sound has always been superb. I think this is just a small bit of information that should be shared and somewhat appreciated. I know the patrons of the clubs and the musicians sure do. Maybe we can get more women and minorities in the game. I think that’s worth a story.
–Michael Martin, via email
