TEAR DOWN THE CATHEDRAL
It seems that after nearly two hundred years of squabbling about musicians interrupting church services at St. Louis Cathedral and disturbing the peace of residents around Jackson Square, that some kind of compromise could be worked out which would make everyone happy.
It is interesting that the complainants on both sides refer to each other, not by name, but as “those people,” which gives an indication that little close one-on-one conversation has taken place.
Having lived in the French Quarter well over a year or so, I have an idea that may be in keeping with the times.
Large outfits are taking over the sponsorship of historic sites, stadiums, etc. Already the Sugar Bowl has a new name, although I am not sure what it means. It appears in the future the Super Dome will have a corporate logo. There have been rumors of Mardi Gras and Jazz Fest having corporate sponsors.
My idea is to convert the Pontalbas, Presbytere, Cabildo and Cathedral into hotels. I am sure the Sheratons, Hiltons and others would be happy to take over these prime locations and keep them up. The middle of the Square could easily be made into a nice parking lot.
It might take some doing to make those buildings into hotels, but they could be razed and brand new building erected in traditional style. After all, those buildings are pretty old.
I am sure corporate sponsors would give financial assistance to move the Pontalba residents to Metairie or someplace where they would not be disturbed by musicians and tourists and street performers and those folks could be hired by the hotels to perform in their lobbies.
The residents would have the peace they crave and the musicians would make more money. I admit it would be a shame to tear down the Cathedral, but it could make more money for the city as a casino.
It’s just a thought.
Don Marquis, New Orleans, LA
I am a long-time subscriber to OffBeat and a true New Orleans fan. To say that I am shocked and dismayed at the recent state laws about ridiculous decibel-level requirements of street musicians would be a great understatement. As a regular tourist to your city and a frequent visitor to Jazz Fest, I feel personally attacked by your legislature. I am from Cincinnati, Ohio. ‘Nuff said! They have been legislating behavior in our town for years, and that is why I come to yours! New Orleans isn’t the State of Louisiana, in my mind. New Orleans is its own great “State of Mind.” To stroll the streets and take in the sights AND SOUNDS of your lovely French Quarter has been a romantic experience for my husband and I for years. The architecture and music create haunting memories that casts a spell on Ohioans like us, compelling us to return time after time.
Is it the Catholic Church fronting the attack on the musicians, or is it the wealthy inhabitants who live in the Quarter and actually want to change what they must have once loved or wouldn’t have wanted to live there. Have they lost sight of the charm that is inherent to their “Crescent City”? If there is anything out-of-staters can do to help turn this frightful trend around you must let us know. Perhaps a little voodoo magic by way of the Ohio River to the Mississippi would be the answer?
Joani Lacy, Cincinnati, OH
I just read Linda Scott’s letter concerning Governor Foster’s plan to effectively ban street musicians in the Quarter. I no longer live in New Orleans, but when I read this it compelled me to write. During the slave days when blacks congregated at Congo Square, now Louis Armstrong Park, it enabled them to keep alive their African heritage. They used hand-held instruments and played polyrhythms that evolved into jazz, and more specific to New Orleans, was the origin of the second line funeral marches. It obviously had a direct influence on how American music evolved. These were essentially street musicians. New Orleans is the only city I can think of where you can use the city’s name as an adjective and it has meaning. New Orleans Music, New Orleans food, etc. Try it with any other city. I live in New York now, where there is even a bigger music scene than in New Orleans. But does New York music have any meaning? New York food? My point is that street music is how New Orleans music began. It is an essential part of the culture that makes New Orleans, New Orleans. If the street musicians were gone, it would be a terrible loss to the city’s culture.
I remember the first time I visited New Orleans in 1984. I was 14 years old. I saw a brass band on the street that was all young kids. The youngest was probably eight, the oldest 14. I’m not sure, but I believe that band became the Rebirth Brass Band. What a shame if we have to take away the outlet where some of the city’s finest musicians got their start.
The governor should remember, hundreds of thousands of people come every year to the Jazz Fest. They come because of the vibrant musical culture that exist in New Orleans and no where else. The street musicians are an integral part of that culture.
I know I don’t live in the state anymore, but I visit frequently. If you want, please forward this letter to the Governor. I’ll see you all in late April. I’m a true New Orleans music aficionado.
-Dave Herman, Brooklyn, NY
MONKEY BUSINESS
There used to be a song about the Audubon Zoo went something like:
We all went down to the Audubon Zoo and they all asked for you
they all asked for you
they even inquired about you
We all went down to the Audubon Zoo and they all axed for you
The monkeys axed the gorillas axed — yeah they all axed for you
Do you know who did this song or the title???? I want to get the lyrics to it.
Rex de Foor, via email
The song, titled “They All Ask’d For You,” was recorded by the original Meters during the ’70s and was based on an ancient New Orleans nursery rhyme, as interpreted by drummer “Zigaboo” Modeliste. It can currently be found on Funkify Your Life: the Meters Anthology (Rhino), one of OffBeat’s “100 Essential Louisiana CDs.” -Ed.
MERRY CHRIS MUST
I spent several evenings back in 1974 at the 809 Club, which at the time was owned by Chris Owens and her husband. Is it now the Chris Owens Club and if so does she still perform and is at the same location?
-Roger Baker, via email
The ageless, perpetually glamorous Chris Owens is now based at 500 Bourbon Street (523-6400), where she performs nightly with her Latin Fever Band. A live emcee, we have been informed, spins discs until the “wee hours,” which in New Orleans means approximately 2 p.m. the next afternoon.-Ed.
SICK OF SLICK
Hi you guys, I dig the mag really I do, but it seems each issue gets more slick than the last. I got nuthin’ against progress, but the name of the mag should say it all! PLEASE keep it off beat! Keep on keepin’ on.
-Dee Snoble (Dee the Funk-Junkie), via email
RIGHT HERE, RIGHT NOW
In your September “Mojo Mouth” column you mentioned jazz “heating up” but you wondered about “the preservation of New Orleans R&B, and what’s going to happen to the music and a means to honor its musicians,” when I suppose the elder statesmen are no longer with us. Well, there is no replacing legends and characters the likes of Johnny Adams, Snooks Eaglin, Earl King, Ernie K-Doe, Deacon John, Eddie Bo, etc. But there are a lot of people (at least a good handful) who live and work out of New Orleans or Louisiana who are artists working hard at keeping New Orleans R&B alive.
I have had my band Paula and the Pontiacs playing New Orleans R&B and blues for 20 years now. People like John Mooney, Walter “Wolfman” Washington, Jon Cleary, Luther Kent, Lenny McDaniel, Little Freddie King, Marva Wright, George Porter Jr., J. Monque D, Sunpie, Amy and the Hank Sinatras, Joe Krown, Tab Benoit, Jumpin’ Johnny, Queenie, Timothea, Tom Worrell, Henry Butler and so on are all musicians that may or not be “legendary” or are the old New Orleans R&B singers to writers of the Dew Drop Inn Days but DO!!! carry the torch and keep a lot of the R&B and blues from New Orleans in their playing. Please don’t forget us. We love the music and work hard to play it. There is a younger generation, right here, right now, keeping it alive.
Memphis has a great “other” hall of fame called “The Memphis Music Hall of Fame” across from the Peabody Hotel. It has a great collection of guitars and photos-personal memorabilia, “live” recordings, clothes and other cool stuff from W.C. Handy to B.B. King (a bunch of artists) and also has studios like Sun Records and Staxx showcased. When we live in a city that is still home and always will be to Fats Domino you’d think we’d have a museum or “preservation hall” as cool as the one in Memphis. It might also be a place where certain items could be safely kept (for example Eddie Bo lost a lot of valuable things in a recent fire.) I agree, New Orleans need to start thinking about “honoring” and “preserving” and maybe even “recognizing” its R&B heritage.
-Paula Rangell, Paula and the Pontiacs
DROWNING IN GUMBO
I’ve been waiting for someone to write to you about Lenny McDaniel (Long Island Lenny) for a long time. I felt if I made my comments first I would seem prejudiced.
My association with Lenny goes back over 30 years to his very popular ’60s band The New Era (later called The New Error, recording contract dispute.) Even then Lenny stood head and shoulders above the crowd. Sixteen years old and a voice twice as mature as his years, songwriting ability comparable to anything on the market at the time (I remember one called “My Town”-Great!) and playing bass (that was his main instrument for years) like crazy.
Because of Lenny’s talent, many of us were given a chance to begin our recording careers. Charlie Brent, for one, got his start playing and arranging for Lenny’s band. Lenny’s talent scored us a deal with the great producer Clyde Otis (Brook Benton), so in 1967 we were recording at the legendary “Fame” studios in Muscle Shoals, Alabama, an experience I’ll never forget.
Mr. Stauber, I’m afraid your plea to Virgin and Tower will probably be ignored. New Orleans musicians have been cursed for years. Lenny calls it “drowning in the gumbo.” The record industry has ignored us as “too ethnic.” When they come to the realization that there are only two kinds of music-good and bad-maybe Lenny will have a real chance. P.S. Lenny is currently doing pre-production work on his new CD-wait ’till you hear these new songs.
-Harry Ravain, Rayne, LA
HOLY SCRIPTURES
Enclosed please find my renewal form and a check for $35.
Do without my Bible? Are you crazy?!?
Thanks for your passionate, detailed, and broad-focused work. I look forward to receiving my copy of OffBeat each month.
Gerry Speca, Somerville, MA
MISSING YOU
I recently moved to New York after spending the previous four years in New Orleans. I miss your awesome magazine. Thanks for your wonderful dedication to music and New Orleans.
Jonathan Jacobs, New York, NY
