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Roger Hahn Posted: Jul 01, 2009 0 comments
This is part 4 of Roger Hahn's epic musical and cultural look at New Orleans, post Hurricane Katrina. Parts 1 through 3 have been on musicangle's home page since this past summer. The final and fifth part of the piece can also be found on the current home page. Parts 1-3 are available by searching the musicangle site—ed.
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Roger Hahn Posted: Jul 01, 2009 1 comments

This is the 5th and final part of Roger Hahn's "New Orleans Culture at a Tipping Point." Part 4 is on the home page. You can find Parts 1-3 elsewhere here by searching the siteed.

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Roger Hahn Posted: Jul 01, 2009 0 comments

New Orleans' second-line parade culture and Mardi Gras Indian culture share a number of attributes.


Both emerged as casually formalized neighborhood practices in the post-Reconstruction decades of the late 19th-century, with Indian imagery likely influenced around that time by the popularity in the U.S. of traveling 'Wild West' shows.

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Roger Hahn Posted: Jul 01, 2009 0 comments
While the corruption-and-reform message that would dominate post-Katrina rebuilding was being crafted in the arena of national politics—delivered through the combined strategies of federal inaction and rabid crime enforcement—the tourism industry in New Orleans emerged as the second gatekeeper of post-Katrina message delivery, energized by a void of local political leadership.
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Roger Hahn Posted: Jul 01, 2009 0 comments
On Saturday morning, April 26, 2008 an overcast and moderately humid day in New Orleans, a small group of neighborhood kids organized an impromptu 'jazz funeral' to commemorate the recent death of a loved and respected local track coach.
Michael Fremer Posted: May 16, 2009 0 comments
Much has happened in the analog world since I reviewed SME's flagship Model 30/2 turntable for the March 2003 Stereophile (footnote 1). Back then, spending $25,000 on a turntable (without tonearm) was an odd extravagance intended only for those seriously committed to the format, and who already owned large LP collections. Although new LPs were being pressed in growing numbers, the resurgence of vinyl was still spotty, and the long-term prognosis for the old medium remained in question.
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Michael Fremer Posted: May 01, 2009 0 comments

Back in the 1950’s, with major labels like Capitol, RCA and Columbia owning their own Los Angeles recording complexes, small, independent recording concerns were left to pick up the scraps: voice-overs, song demos, commercial jingles and other small-time bookings.

It was upon that sort of wholesome fare that Gold Star Studios thrived during its early years in the 1950’s. Founded by a couple of adventurous young friends, the studio also began attracting more creative types, drawn both to the sound of co-founder Dave Gold’s custom-designed recording gear and “secret-recipe” reverb chambers and to co-founder Stan Ross’s recording and producing inventiveness. As you’ll read, Ross’s creative instincts helped turn “tunes” into some of our most enduring and memorable pop-musical treasures.

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Michael Fremer Posted: May 01, 2009 0 comments

Part II:Building Gold Star Studios, Phil Spector and Alvin & The Chipmunks Come to Play:

FREMER: Where did you get all this (recording)stuff?

ROSS: We bought the parts. There were no recording consoles available. We had a broadcast console that was available to us. It was a stereo console because one channel was for cuing and the right was for the air. It was gorgeous. A guy had this wonderful board with the colored knobs and [it was] just what we wanted. And so we got it for a good price and I said, ah, we got the console.

FREMER: So you had to make an investment. So you had to have savings? You borrowed?

ROSS: We borrowed the difference, whatever. Hey, I wasn’t a GI so I had a problem. Anyway, we found out that this console was hot. [LAUGHTER]

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Michael Fremer Posted: May 01, 2009 0 comments

Chico Hamilton Plays Demo Dates, "The Happy Whistler," "Ina Goda Da Vida" and the Closing of Gold Star— Part III

ROSS: When we closed Gold Star, we called up Atlantic, “We got a lot of tape here for you.” Black Oak Arkansas we did for them, and Sonny and Cher.

FREMER: And they didn’t care about the master tapes?

ROSS: No, they couldn’t care less.

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