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Katrina + 5: An X-Code Exhibition

...RIGHT QUADRANT — Personal hazards. BOTTOM QUADRANT — Number of live and dead victims still inside the structure. ["0" = no victims] National Urban Search and Rescue (US&R) Response System,...

Ireland’s First Sacred Harp Convention: “To Meet To Part No More”

...seventy-five and one hundred Irish singers attended the Ireland Convention, joined by sizable groups of singers from the United States, the United Kingdom, and Poland, as well as a pair...

A Plague of Bulldozers: Celestine Sibley and Suburban Sprawl

...Celestine Sibley was one of the most read writers in the southeastern United States during the last half of the twentieth century. Her columns—some ten-thousand during her career—appeared almost daily...

COVID-19 Vaccine and the Right to Public Health

...health response in the United States to COVID-19 was uneven across federal, state, and local entities, the narrative about disproportionate risk and mortality became apparent early and the public health...

Dirty Decade: Rap Music and the US South, 1997–2007

...particular place can only produce a limited number of marketable artists) and, to a lesser degree, speculative exploration (that going to obscure places might yield a novel interpretation of the...

Bioregional Approach to Southern History: The Yazoo-Mississippi Delta

...of the United States (Ogden, UT: US Department of Agriculture, Forest Service, 1978), 1–2, Appendix 2; WWF, "Ecoregions," http://www.worldwildlife.org/science/ecoregions/item1847.html (accessed December 1, 2009); David M. Olson et al., "Terrestrial Ecoregions...

Search Results for United Phone Number 800-299-7264 Customer Service

Ireland’s First Sacred Harp Convention: “To Meet To Part No More”

COVID-19 Vaccine and the Right to Public Health

Dirty Decade: Rap Music and the US South, 1997–2007

Bioregional Approach to Southern History: The Yazoo-Mississippi Delta

Ablaze: The 1849 White Supremacist Attack on the Pendleton Post Office

African American Community Building in Atlanta: A Guide to the Study of Race in America

"I Used That Katrina Water To Master My Flow": Rap Performance, Disaster, and Recovery in New Orleans

References
1.	"Hollygrove Mikey, The Ca$hius Clay Tape," http://hollygrovemikey.bandcamp.com/.
2.	Nico Lang, "Cultural Appropriation Is a Bigger Problem than Miley Cyrus," Thought Catalog, August 26, 2013, http://thoughtcatalog.com/nico-lang/2013/08/cultural-appropriation-is-a-bigger-problem-than-miley-cyrus/. For Big Freedia's response to Miley Cyrus, see Jason Newman, "Bounce Queen Big Freedia Slams Miley Cyrus' Twerking," FUSE TV, August 18, 2013, http://www.fuse.tv/2013/08/big-freedia-miley-cyrus-twerk.
3.	Archival photographs and audio excerpts of accompanying oral history interviews can be found at "Where They At," http://wheretheyatnola.com/.
4.	The NOLA Hip-Hop Archive is the first university-affiliated rap archive in the Deep South: "NOLA Hip-hop Archive," http://www.nolahiphoparchive.com. The Amistad Research Center is the nation's oldest, largest, and most comprehensive independent archive specializing in African American history: "Amistad Research Center," http://www.amistadresearchcenter.org.
5.	Matt Miller, Bounce: Rap Music and Local Identity in New Orleans (Amherst: University of Massachusetts Press, 2012), 172.
6.	This is one of many recurrent themes taken from my interviews with artists for the NOLA Hip-hop Archive.
7.	A notable exception is the spate of scholarly work on New Orleans "sissy bounce" and gender politics. Two recent monographs engaging with mainstream rap and bounce in New Orleans are Matt Sakakeeny, Roll With It: Brass Bands in the Streets of New Orleans (Durham: Duke University Press, 2013) and Miller, Bounce.
8.	Notable exceptions include the work of writers Alison Fensterstock (Times-Picayune), Alex Woodward (The Gambit), Keith Spera (Times-Picayune), Scott Aiges (Times-Picayune, New Orleans Jazz and Heritage Festival and Foundation) and Ned Sublette, The Year Before the Flood: A Story of New Orleans (Chicago: Lawrence Hill Books, 2009).
9.	Kelefa Sanneh, "New Orleans Hip-Hop Is the Home of Gangsta Gumbo," New York Times, April 23, 2006, http://www.nytimes.com/2006/04/23/arts/music/23sann.html.
10.	French Quarter Fest is one of many local festivals that has shown a noticeable increase in local rap and bounce bookings. Jazz Fest includes more rap and bounce artists in their Allison Miner Music Heritage Stage programming, in particular.
11.	Holly Hobbs and Alison Fensterstock, "New Orleans Hiphop and Bounce Storytelling, Preservation, and Place in Post-Katrina" (paper presented at the Music of the South conference, Oxford, Mississippi, April 2–3, 2014).
12.	Alison Fensterstock, "DJ Jubilee Makes History with Acoustic Bounce Show at Preservation Hall," Nola.com, November 9, 2013, http://www.nola.com/music/index.ssf/2013/11/dj_jubilee_makes_history_with.html.
13.	Alison Fensterstock, "PressHall Brass Backed Fiend and Nesby Phips for a Wild Midnight Show at Preservation Hall," Nola.com, March 2, 2015, http://www.nola.com/music/index.ssf/2015/03/preshall_brass_backed_rappers.html.
14.	See Scott Jordan, "The Rap on WWOZ," The Gambit, August 19, 2003, http://www.bestofneworleans.com/gambit/the-rap-on-wwoz/Content?oid=1241861. Rogan was an inspiration for Steve Zahn's DJ Davis McAlary character in David Simon's Tremé on HBO. While there are two commercial hip-hop/R&B radio stations in New Orleans at the time of writing—93.3FM and 102.9FM—both must abide by regulations set by the stations' corporate parents limiting local rap and bounce play, though both have made important advances in getting local rap on the air. See 93.3FM radio star Wild Wayne's oral history interview at http://www.nolahiphoparchive.com.
15.	Ricky B, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, July 7, 2012, http://www.louisianadigitallibrary.org/cdm/compoundobject/collection/p16313coll68/id/117/rec/39.
16.	Alison Fensterstock, "Bounce Originator Ricky B Celebrates Album Release at Blue Nile April 5, along with the Stooges Brass Band," Nola.com, April 2, 2013, http://www.nola.com/music/index.ssf/2013/04/bounce_originator_ricky_b_cele.html.
17.	Nesby Phips, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, July 13, 2014, http://www.louisianadigitallibrary.org/cdm/compoundobject/collection/p16313coll68/id/117/rec/39.
18.	See, among others, Insanul Ahmed, "Hate of the Union: When New York Disses The South,"Complex Magazine, July 1, 2010, http://www.complex.com/music/2010/07/hate-of-the-union-when-new-york-disses-the-south/; Darren E. Grem, "'The South Got Something to Say': Atlanta's Dirty South and the Southernization of Hip-hop America,"Southern Cultures 12, no. 4 (2006): 55–73; Ali Colleen Neff, Let the World Listen Right: The Mississippi Delta Hip-Hop Story (Jackson: University of Mississippi Press, 2009); Roni Sarig, Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing (New York: Da Capo Press, 2007); and Ben Westhoff, Dirty South: OutKast, Lil Wayne, Soulja Boy, and the Southern Rappers Who Reinvented Hip-hop (Chicago: Chicago Review Press, 2011).
19.	Travel writers and scholars have long characterized New Orleans as the most African of US cities, see Gwendolyn Midlo Hall, "The Formation of Afro-Creole Culture," in Creole New Orleans: Race and Americanization, ed. Arnold R. Hirsch et al. (Baton Rouge: Louisiana State University Press, 1992), 58–87. Anthropologist Melville Herskovits argued that "those aspects of the African tradition peculiar to this specialized region have reached their greatest development [in New Orleans]" in The Myth of the Negro Past (New York: Harper and Brothers, 1941), 245. If, as Congolese scholar V. Y. Mudimbe has written, the representational function of Africa operates as a "sign of something else," then New Orleans, fetishized, exoticized, and romanticized ad nauseum, is a "sign of something else" writ large in the American psyche. See The Invention of Africa: Gnosis, Philosophy, and the Order of Knowledge (Bloomington: University of Indiana Press, 1988), ix. For an extended discussion of these dynamics, see Lewis Watts and Eric Porter, New Orleans Suite: Music and Culture in Transition (Berkeley: University of California Press, 2013), 5. As mass mediated images of Katrina "refugees" have informed much of the world's knowledge of black New Orleanians, these paradigms have become even more pronounced. See Zenia Kish, "Hiphop as Disaster Recovery in the Katrina Diaspora," American Quarterly 61, no. 3 (2009): 671–692.
20.	Watts and Porter, New Orleans Suite, 7. See also Sakakeeny's discussion of New Orleans musicians and the tourism economy in Roll With It, 69–107.
21.	See Nik Cohn, Triksta: Life and Death and New Orleans Rap (New York: Alfred A. Knopf, 2007); Daron Crawford and Pernell Russell, Beyond the Bricks, (New Orleans: Neighborhood Story Project, 2009); Miller, Bounce; and Sakakeeny, Roll With It, along with the work of journalists mentioned in note 8.
22.	Capitalization derived from Truth Universal's preferred marketing of the event.
23.	GRASSROOTS! was begun by Truth Universal in 2002 at the Neighborhood Gallery Theater on Oretha Castle Haley Boulevard in the Central City neighborhood of New Orleans. At that time, the Neighborhood Gallery was a vital part of the city's black community-based business network. Begun by Sandra Berry and Joshua Walker in their living room on Soniat Street, the Neighborhood Gallery permanently closed after Hurricane Katrina. Truth relocated GRASSROOTS! to the Dragon's Den in 2007, where it remained until its final show in December of 2012.
24.	Kish, "Hiphop as Disaster Recovery in the Katrina Diaspora," 672.
25.	See Kish, "Hiphop as Disaster Recovery in the Katrina Diaspora," for a detailed account of post-Katrina rap and activism.
26.	Representation is always a fraught proposition. Visit the NOLA Hip-hop Archive to hear artists speak about the complexity of representation in their own words.
27.	The ethnographic moment presented here is an excerpt from my forthcoming dissertation, "'Shake Fo' Ya Hood': Hip-Hop and Recovery in Post-Katrina New Orleans."
28.	"Hurricane Isaac Damaged 59,000 Homes in Louisiana, Officials Estimate," Associated Press, September 28, 2012, http://www.nola.com/hurricane/index.ssf/2012/09/hurricane_isaac_damaged_59000.html.
29.	John Schwartz and Campbell Robertson, "New Orleans Levees Hold, and Outsiders Want In," New York Times, September 6, 2012, http://www.nytimes.com/2012/09/07/us/new-orleans-levees-hold-and-outsiders-want-in.html.
30.	Bob Marshall, "Hurricane Isaac Lays Bare the Painful Economics of Flood Protection," The Lens, September 2, 2012, http://www.nola.com/hurricane/index.ssf/2012/09/hurricane_isaac_lays_bare_the.html.
31.	KVLE, "Studio Life: How Dee-1's Parents Were Saved," 3 Little Digs, September 3, 2012, http://3littledigs.com/blog/2012/09/03/studio-life-dee-1/.
32.	Dee-1, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, September 15, 2012, http://cdm16313.contentdm.oclc.org/cdm/singleitem/collection/p16313coll68/id/4/rec/9.
33.	The earliest act of sale for the building dates to 1882, although according to the Bourbon Group, the building was likely built twenty years before that date.
34.	Mary Louise Christovich, Sally Kittredge Evans, and Roulhac Toledano, New Orleans Architecture: The Esplanade Ridge (New Orleans: Pelican Publishing, 1995), 18.
35.	Alex Woodward, "Truth Universal Discusses His New Album and Politics in Hip-hop," The Gambit, September 10, 2013, http://www.bestofneworleans.com/gambit/universal-appeal/Content?oid=2250160.
36.	I use quotes to denote widespread ambivalence about the use of the term.
37.	"The Urbanist's New Orleans: What To Do," New York Magazine, April 1, 2012, http://nymag.com/travel/features/new-orleans-entertainment-2012-4/.
38.	George Lipsitz, "Introduction: The Long Fetch of History; or, Why Music Matters," in Footsteps in the Dark: The Hidden Histories of Popular Music (Minneapolis: University of Minnesota Press, 2007), vii–xxv.
39.	Impulss, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, June 4, 2012, http://cdm16313.contentdm.oclc.org/cdm/singleitem/collection/p16313coll68/id/14/rec/22.
40.	The writing of Alison Fensterstock, Matt Miller's work on Mia X, and Zenia Kish are notable exceptions to the erasure of women in New Orleans rap.