Carter tells the story of the hall itself, the personalities who ran it, and above all, the music and musicians of New Orleans.

Preservation Hall, located in the French Quarter just three blocks from the Mississippi River, remains an icon of New Orleans and an essential stop for all fans of traditional jazz. Since the early 1960s "The Hall" has served as a sanctuary for the Crescent City's rich and illustrious jazz heritage, a haven for players, and an incubator for successive generations of jazz musicians. Seven nights a week the venue fills to capacity with die-hard fans and curious tourists eager to hear live New Orleans jazz played by a mix of veteran musicians and up-and-coming players. Preservation Hall dedicates itself to the authentic performance of traditional jazz. The space inside seems simple, and a large portion of the audience must stand in the back, behind a limited number of benches, chairs, and floor cushions. The Hall has no dance floor and serves no food or drink. In Preservation Hall, the music alone fills the space between listener and player. In their rare behind-the-scenes portrait, New Orleans photographer Shannon Brinkman and audio documentarian Eve Abrams capture the rhythm and cool of this historic club with both a pulsating array of images and the heartfelt words of band members.

The tale begins over three-hundred years ago, when the Fair People—the goblins, fairies, dragons, and other fabled and fantastic creatures of a dozen lands—fled the Old World for the New, seeking haven from the ways of Man. With them came their precious jewels: diamonds, rubies, emeralds, pearls... But then the Fair People vanished, taking with them their twelve fabulous treasures. And they remained hidden until now... Across North America, these twelve treasures, over ten-thousand dollars in precious jewels, are buried. The key to finding each can be found within the twelve full color paintings and verses of The Secret. Yet The Secret is much more than that. At long last, you can learn not only the whereabouts of the Fair People's treasure, but also the modern forms and hiding places of their descendants: the Toll Trolls, Maitre D'eamons, Elf Alphas, Tupperwerewolves, Freudian Sylphs, Culture Vultures, West Ghosts and other delightful creatures in the world around us. The Secret is a field guide to them all. Many "armchair treasure hunt" books have been published over the years, most notably Masquerade (1979) by British artist Kit Williams. Masquerade promised a jewel-encrusted golden hare to the first person to unravel the riddle that Williams cleverly hid in his art. In 1982, while everyone in Britain was still madly digging up hedgerows and pastures in search of the golden hare, The Secret: A Treasure Hunt was published in America. The previous year, author and publisher Byron Preiss had traveled to 12 locations in the continental U.S. (and possibly Canada) to secretly bury a dozen ceramic casques. Each casque contained a small key that could be redeemed for one of 12 jewels Preiss kept in a safe deposit box in New York. The key to finding the casques was to match one of 12 paintings to one of 12 poetic verses, solve the resulting riddle, and start digging. Since 1982, only two of the 12 casques have been recovered. The first was located in Grant Park, Chicago, in 1984 by a group of students. The second was unearthed in 2004 in Cleveland by two members of the Quest4Treasure forum. Preiss was killed in an auto accident in the summer of 2005, but the hunt for his casques continues.

Now updated to 2020, this is an account of the development and output of the great young traditional jazz band Tuba Skinny, which is based in New Orleans. Many recommendations are included of videos to watch and recordings available for purchase.

New Orleans on Parade tells the story of the Big Easy in the twentieth century. In this urban biography, J. Mark Souther explores the Crescent City's architecture, music, food and alcohol, folklore and spiritualism, Mardi Gras festivities, and illicit sex commerce in revealing how New Orleans became a city that parades itself to visitors and residents alike.Stagnant between the Civil War and World War II -- a period of great expansion nationally -- New Orleans unintentionally preserved its distinctive physical appearance and culture. Though business, civic, and government leaders tried to pursue conventional modernization in the 1940s, competition from other Sunbelt cities as well as a national economic shift from production to consumption gradually led them to seize on tourism as the growth engine for future prosperity, giving rise to a veritable gumbo of sensory attractions. A trend in historic preservation and the influence of outsiders helped fan this newfound identity, and the city's residents learned to embrace rather than disdain their past.A growing reliance on the tourist trade fundamentally affected social relations in New Orleans. African Americans were cast as actors who shaped the culture that made tourism possible while at the same time they were exploited by the local power structure. As black leaders' influence increased, the white elite attempted to keep its traditions -- including racial inequality -- intact, and race and class issues often lay at the heart of controversies over progress. Once the most tolerant diverse city in the South and the nation, New Orleans came to lag behind the rest of the country in pursuing racial equity.Souther traces the ascendancy of tourism in New Orleans through the final decades of the twentieth century and beyond, examining the 1984 World's Fair, the collapse of Louisiana's oil industry in the eighties, and the devastating blow dealt by Hurricane Katrina in 2005. Narrated in a lively style and resting on a bedrock of research, New Orleans on Parade is a landmark book that allows readers to fully understand the image-making of the Big Easy.

Pedagogical research faces a challenge in acknowledging and integrating the valuable insights provided by narrative inquiries, particularly those centered around educators' tipping points. Despite the richness of these narratives in understanding pedagogy, there exists a bias towards traditional, quantitative research methods, leading to limited recognition and acceptance of qualitative studies. This lack of acceptance poses a barrier to leveraging the authentic experiences of educators for designing effective professional development and teacher education opportunities. The key challenges include the undervaluation of narrative inquiries, concerns about generalizability, the need to balance authenticity with research rigor, and the restricted influence on professional development due to the limited integration of narratives into the research base. Addressing these challenges is crucial for fostering a more holistic understanding of pedagogical development and improving the quality of teacher education. Inquiries of Pedagogical Shifts and Critical Mindsets Among Educators delves into unexplored pedagogy through a compendium of original research studies. The focus is on narrative inquiries, case studies, and phenomenological investigations, offering a nuanced understanding of pedagogical shifts and critical mindsets among P-16 educators. Inspired by Novoa's conceptualization of "Tipping Points," the book unfolds the narratives and lived experiences that propel educators toward transformative shifts in their teaching methodologies.

Jazz is a music born in the United States and formed by a combination of influences. In its infancy, jazz was a melting pot of military brass bands, work songs and field hollers of the United States slaves during the 19th century, European harmonies and forms, and the rhythms of Africa and the Caribbean. Later, the blues and the influence of Spanish and French Creoles with European classical training nudged jazz further along in its development. As it moved through the swing era of the 1930s, bebop of the 1940s, and cool jazz of the 1950s, jazz continued to serve as a reflection of societal changes. During the turbulent 1960s, freedom and unrest were expressed through Free Jazz and the Avant Garde. Popular and world music have been incorporated and continue to expand the impact and reach of jazz. Today, jazz is truly an international art form. This second edition of Historical Dictionary of Jazz contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on musicians, styles of jazz, instruments, recording labels, bands and band leaders, and more. This book is an excellent resource for students, researchers, and anyone wanting to know more about Jazz.

This book explores the ways in which Western-derived music connects with globalization, hybridity, consumerism and the flow of cultures. Both as local terrain and as global crossroads, cities remain fascinating spaces of cultural contestation and meaning-making via the composing, playing, recording and consumption of popular music.

"Here in Louisiana, we make music. When I say we make music, I mean that we don't just play music--we invent it, too. We take the raw materials of music--of sound--and make something new with it." --From the introduction Music writer and cultural historian Roger Hahn provides an intimate glimpse into a music genesis and legacy that has spread across the globe. From creating new categories of music like jazz and zydeco to adding new sounds to older genres like rhythm and blues, rock 'n' roll, funk, and hip-hop, Louisiana has put her stamp on them all. With an introduction that includes an impressive overview of the state's contribution to America's music history, Hahn launches into biographies of twenty musicians and musical groups who have shaped--and are shaping--the face of our musical landscape. Included are well-known figures like Louis Armstrong, Jerry Lee Lewis, Fats Domino, The Boswell Sisters, Mahalia Jackson, Harry Connick, Jr., Li'l Wayne, and Hunter Hayes. Right beside them are lesser-known but no less significant or influential figures, including Jelly Roll Morton, Clifton Chenier, Steve Riley & The Mamou Players, Trombone Shorty, The Dirty Dozen Brass Band, and Buddy Guy. The biographies present a small capsule of the artists' cultural inheritance, influence, and accomplishments. A full-color portrait by Louisiana artist Chris Osborne accompanies each profile in this testament to Louisiana's musical legacy.