Angus Lind’s column in The Times-Picayune documented things that he described as, “a little offbeat”: people, places and events that gave New Orleans its local color. But that didn’t come until later in his career. When he got started in the early 1970s as a young man, Angus was a general-assignment reporter who cut his teeth on a series of tragic events within a single calendar year.
Wheel your cart into the Winn-Dixie on Carrollton Avenue, and you might be distracted from your grocery list by a house. Just inside the supermarket sits a bright cottage, typically New Orleans in style.
“It’s got the front porch, it’s got the hip roof and the chimney up top. And everything is crooked,” says Matthew Holdren. The designer and woodworker built this pint-sized home, a children’s playhouse about 9-by-5 feet in size. Its just-might-topple-over feel was inspired by collaborator Terrance Osborne.
In certain worlds of New Orleans music, there is a special sound — a signal — which lets players know it's time to pick up their instruments and strike up the band. But where did this signal come from? We listened to chirps, whistles and musicians, hunting for this signal's origins and to learn: what is the chicken, and what is the egg?
When New Orleans musicians want to say a certain thing, instead of words, they use a four note phrase.
“It’s a bugle call or a band call to assemble,” explains Leroy Jones.
Click here to hear about the lasting consequences of the 1984 World's Fair.
As the Director of Public Relations for the 1984 World's Fair, Jeanne Nathan had her work cut out for her.
The fair not only had to compete with the 1984 Summer Olympics in Los Angeles, but it was challenged by an oil crash, political conflict, and bad publicity. It remains the only World’s Fair to declare bankruptcy during its run. Despite that, Jeanne feels New Orleans learned invaluable lessons in tourism and marketing that are still used today, but will be the first to admit that handling the Fair’s image was a constant uphill battle.