ACCEPTED BY HIS OWN

I wanted to drop a line or two your way for several reasons. First I would like to give my appreciation to OffBeat for awarding Eddie Shuler of Goldband Records a Lifetime Achievement Award. I work with Eddie on a daily basis and I want to tell you how much the award meant to him. Throughout Eddie’s long career he has accomplished many things and is well known and respected by industry people all over the U.S. and Europe. For one reason or another Eddie has never received much recognition right here in his own state of Louisiana. Few people realize that Eddie was the driving force behind Cajun music as we know it today. He also drove the bus that brought in Zydeco music via “Paper in My Shoe” by a 19-year-old Boozoo Chavis in 1954. Eddie later paved the way for a unique South West Louisiana R&B sound called swamp pop. Eddie’s music, which consist of over 14,000 master recordings and a publishing catalog of over 11,000 songs, pretty much defines the sound of South Louisiana. Having said all of this, I would like to sum things up by saying that your award has made a 90-year-old man finally feel that he has been accepted by his own, the people of Louisiana.

-Jim Levingston, Magnolia Music,

Lake Charles, LA

PAINFUL DISAPPOINTMENT

I read your [Jan Ramsey’s “Mojo Mouth”] December 2001 editorial with disbelief, utter consternation and severe, painful disappointment.

The attempt to tar and feather Jackie Harris and her good name is a true disservice to all. As director of the New Orleans Music and Entertainment Commission, she has contributed honest, dedicated-and outstandingly creative-service to New Orleans music, its musicians and the general community.

Totally unsubstantiated charges, and “if this is true” brand of facts, which then serve as the basis for unbridled attack, are sharp glimpses into our past and certain ominous practices. Shame on you.

If this is truly the vision offered to New Orleans as we move into the 21st-century, then OffBeat is off beat.

-Roger Dickerson,

Southern University of New Orleans, LA

Your innuendo-filled diatribe against Jackie Harris goes against what many in the community know to be the truth about Ms. Harris and the New Orleans Music and Entertainment Commission.

In the five years that she has served on the executive committee of the New Orleans Public Schools Alumni Association, she has unequivocally demonstrated her support for public education in New Orleans.

Specifically, her role has been to organize the Volunteer Appreciation Celebration that follows our signature event, the Rally for New Orleans Public Schools. Her responsibilities include hiring the talent and setting up the club for the event. Despite your accusations of cronyism, Ms. Harris has been the consummate professional.

For the past four years, the celebration’s sub-committee has chosen the talent including such diverse performers as Kermit Ruffins, Wanda Rouzan, Jo “Cool” Davis and the Wild Magnolias. Per our request, Ms. Harris has contracted with the performers. She has done so economically and professionally and has never so much as even offered a counter-suggestion-so much for allegations of cronyism.

The board of the New Orleans Public Schools Alumni Association respectfully suggests that you do a little research before smearing the reputation of someone who has done so much for the school children of New Orleans.

-Carlos Hornbrook, President,

New Orleans Public Schools Alumni Association

Our editorial decision to publish an opinion concerning Ms. Harris’ continuance in the role of Executive Director of the New Orleans Music and Entertainment Commission was not taken lightly. It was based on personal information and on information provided by local musicians. It was also a result of unreturned phone calls and a basic unresponsiveness to the music community demonstrated by Ms. Harris.

Ms. Harris is a public servant, and is paid by public monies. Therefore, the entire music and entertainment community’s trust and interests should be paramount in her actions. Ms. Harris should be commended for an outstanding job in attracting and keeping the Essence Festival in New Orleans.

But many musicians and others in the community feel that she has misused her position to obtain “inside information” on gigs and production opportunities which should have been passed on to the community which Ms. Harris ostensibly serves. Isn’t her job to improve the local music industry by creating jobs for them? Doesn’t that mean putting money in their pockets?

Using one’s position as a political insider to get jobs for oneself or one’s friends-at the expense of not offering these jobs to the community she represents-is not only politically incorrect, it is a misuse of one’s office as a public servant, and, in our opinion, a breach in ethical behavior.

It is just not acceptable for the Executive Director of the Music and Entertainment Commission to produce events of any kind that come into the city. This is a conflict of interest. There are many companies in New Orleans who can produce events. The Executive Director is being paid by our tax dollars to make sure that our interests are being served; that the qualified event producers, talent bookers, attorneys, publishers, and other members of the music community have jobs and income.

OffBeat’s editorial opinion is that as Executive Director, she has been ineffective in serving the music community’s interests, and furthermore, that she may have taken advantage of her knowledge of the industry and local musicians to enrich herself and her friends.

This is unconscionable, and should not be tolerated in any public servant by his or her constituency. To do so is the ultimate “ominous practice” and perpetuates the horrible reputation New Orleans has achieved for patronage and corrupt politics.OffBeat has the entire music community’s interest at heart. That is why we exist. We want the best for the local music community. We want them to have jobs, make a decent wage, we want them to be stars in their own hometown and internationally. We endeavor to support all musicians and music businesses here. OffBeat will support any Executive Director who does the same. -Ed.

SHORT-SIGHTEDNESS

I’ve been keeping up on what’s happening in Louisiana, not only through your excellent publication but also through friends who live there, but also with visitors. I’m appalled at the short-sightedness of the politicians. Don’t they realize that music is the life blood of Louisiana. Without it, what a different and frightening world it would be. Keep the faith and continue fighting the good fight.

-D.L. Nolan, Gladstone, Queensland, Australia

IT’S TOO LATE, PART THREE

I agree with the other letter writers who complain about the late hours of live music in New Orleans. I have lived here since I was 14-years-old, and have heard probably thousands of gigs of one sort or another, as well as having played in bands doing many of those late gigs. Getting older certainly has something to do with it, as other writers pointed out, but that is not entirely the issue. More to the point, as was also pointed out, I have to work. There is no way that I’m going out to hear music when I have to get up early. It just doesn’t work. Which is a shame, because there are many acts that I (along with presumably a lot of other people) would like to catch and simply won’t be able to. Perhaps what the city needs is a two-tier system, clubs working in some sort of shift fashion-maybe some clubs could cater to the after work / early evening crowd, while leaving others for the late night after hours contingency. This is actually what happens in many other cities; I don’t think that the funky Nawlins vibe would be ruined for the late night hipsters if some of their early rising compadres had their music and went home before the witching hour. I just feel that a large part of the local populace is being cut off from hearing live music that we’re always encouraged to patronize by the current system. By the way, the people who get up early are working, which by definition translates into some money to spend at the clubs (are you listening, owners?). And I will tell you, when I was playing music, it was really fun to see people dwindling away at 2 or 3 in the morning, and then having to pack equipment, get home at 4 or 5 a.m., etc. Even when I was younger, that didn’t seem like the ideal schedule. I find it encouraging to see so many people writing about this topic.

-Doug Egan, New Orleans, LA

This is one more letter concerning start times at local clubs. At a recent show at The Parish above House of Blues, opening act Krush U.K. went on at 8:15 p.m.; Sugarbomb (the headliner) went on at 9:30 p.m. and finished at around 10:45 p.m. It was a medium-sized crowd, and yes, people did arrive in time to see the opening act.

When conversation turned to the “early” start time, everyone I spoke to was in favor of it. To those who say, “I wanna stay out late! I wanna party!” my answer is “Well, the show’s over, but there’s plenty of bars if you want to drink all night.”

-Carl Harrison, New Orleans, LA

We’re pleased to announce that all the “Too Late” letters have had their effect on at least one club. The Howlin’ Wolf will now begin its Acoustic Open Mic Nights at 8 p.m. and all Sunday and Wednesday shows will now commence at 9 p.m.-Ed.