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.91.Thompson,  From the Isle Beneath the Sea, p.92.92.Ibid.93.Hinton and Martinez,  The Black Indians of New Orleans.94.Keith Weldon Medley, We as Freemen: Plessy v.Ferguson (Gretna, La.: Pelican,2003), dustcover notes.95.Roach, Cities of the Dead, p.207.96.Girouard, Sequin Artists of Haiti, pp.33, 36, 37, 42.97.From the author s telephone conversation with Darryl Montana, Big Chief of theYellow Pocahontas tribe, May 2003.98.Maurice M.Martinez Jr.,  Two Islands: The Black Indians of Haiti and New Or-leans, Arts Quarterly 1, no.7 (July/August/September, 1979): 6.For information on theAfrican Native American connection in other locations, see Jack D.Forbes, A icans andNative Americans, 2nd ed.(Urbana: University of Illinois Press, 1993); William Loren Katz,Black Indians: A Hidden Heritage (New York: Atheneum, 1986); David Li lefield, A icansand Seminoles (Westport, Conn.: Greenwood, 1977); and Richard Price, ed., Maroon Socie-ties: Rebel Slave Communities in the Americas (Baltimore, Md.: Johns Hopkins UniversityPress, 1979).99.Michael Smith, Mardi Gras Indians (Gretna, La.: Pelican, 1994), p.96.100.Roach, Cities of the Dead, p.194.101.From the author s interview with Big Chief Tootie Montana on Good Friday,1997.102.Ibid.103. Martinez,  Two Islands, p.6.104.From the author s interview with Big Chief Tootie Montana on Good Friday,1997.105.Ibid.106.Ibid.107.Panel discussion on the History of the Mardi Gras Indians, Xavier University,New Orleans, Louisiana, March 17, 1997.108.Ibid.109.From the author s interview with Big Chief Tootie Montana on Good Friday1997.See Robert A.Hall with Suzanne Comhaire-Sylvain, H.Ormonde McConnell, andAlfred Mtraux,  Haitian Creole Grammar, Texts, Vocabulary, American Anthropologist55, no.2 (April June 1953): 7 309.110.Alan Lomax, Mister Jelly Roll, pp.17, 18.Also see Howard Reich and WilliamGaines, Jelly s Blues: The Life, Music, and Redemption of Jelly Roll Morton (New York: 148 N o t e s to pag e s 63 67Da Capo, 2003); and Phil Pastras, Dead Man Blues: Jelly Roll Morton Way Out West(Berkeley: University of California Press, 2001).111.Maurice M.Martinez Jr.,  Delight in Repetition: The Black Indians, Wavelength(February 1982): 23.112.Ibid.113.George Landry,  Indian Red, The Wild Tchoupitoulas (New York: Mango IslandRecords, 1976).114.Ibid.115.Donald Harrison Jr., Young Guardians of the Flame.For Generations Yet to Come(New Orleans: Junebug Productions, 1999).116.lbid.117.From the author s interview with Darryl Montana, June 23, 2003.118. Sewing Behind the Scenes: Indian Wives, Louisiana State Museum, New Or-leans, June 29, 1999.119.The author s interview with Sylvester Francis, Backstreet Cultural Museum, NewOrleans, June 23, 2003.Sylvester Francis is Darryl Montana s uncle.120.St.Joseph is also the patron saint for Italians in New Orleans; see Anna MariaChupa,  St.Joseph s Day Altars, Cultural Crossroads, Houston Institute for Culture,www.cultural-crossroads.com, p.1; and Ethelyn Orso, The St.Joseph Altar Traditions ofSouth Louisiana (Lafaye e: Center for Louisiana Studies, University of SouthwesternLouisiana, 1990).121.J.B.Borders,  Changing the Changing Same: Halting Arrested Developmentin the Crescent City: A New Study Points the Way Out of Economic Inequity for Afro-Orleanians, New Orleans Tribune, May/June 2003, p.13; Beverly Hendrix Wright,  NewOrleans a City That Care Forgot, in In Search of the New South: The Black Urban Experiencein The 1970s and 1980s, ed.Robert D.Bullard (Tuscaloosa: University of Alabama Press,1991).122.Kalamu ya Salaam, liner notes,  You Ain t Heard Nothin Yet, The Dirty DozenBrass Band Live: Mardi Gras in Montreaux (Cambridge, Mass.: Rounder Records, 1986).123.Ibid.The Wild Magnolias, The Wild Magnolias: They Call Us Wild (Germany:Polydor, 1994 [1975]).124.The Neville Brothers, The Wild Tchoupitoulas.See also Art, Aaron, Charles, andCyrill Neville, and David Ritz, The Brothers Neville (Boston: Li le, Brown, 2000).125.The Neville Brothers, Live on Planet Earth.126.Ibid.127.The Meters, The Essentials (New York: Warner Brothers Records, 2002); B.R.Hunter,  The Meters, Vibe 4, no.1 (February 1996): 104.128.Michael P.Smith, New Orleans Jazz Fest: A Pictoral History (Gretna, La.: Pelican,1991); Brian Federico, The Origins of New Orleans Greatest Music Festival (New Orleans:New Orleans Scriptorum, 2001).The 2005 New Orleans Jazz and Heritage Festival show-cased the music of the Mardi Gras Indian tribes, the brass bands, and the social aid andpleasure clubs of black New Orleans.129.The Dirty Dozen Brass Band, Voodoo (New York: Columbia Records, 1989); BuckJump (Carrboro, N.C.: Mammoth Records, 1999), and Medicated Magic (New York: TheRopeadope Music Company LLC, 2002).Rebirth Brass Band, The Main Event: Live at theMaple Leaf (New Orleans: Louisiana Red Hot Records, 1999).130.From the author s interview with Sylvester Francis, New Orleans, June 23, 2003 [ Pobierz całość w formacie PDF ]