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New Orleans SuiteMusic and Culture in Transition$
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Lewis Watts and Eric Porter

Print publication date: 2013

Print ISBN-13: 9780520273870

Published to California Scholarship Online: September 2013

DOI: 10.1525/california/9780520273870.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 24 September 2021

Reconstruction’s Soundtrack

Reconstruction’s Soundtrack

Chapter:
(p.56) 4 Reconstruction’s Soundtrack
Source:
New Orleans Suite
Author(s):

Lewis Watts

Eric Porter

Publisher:
University of California Press
DOI:10.1525/california/9780520273870.003.0004

Section 4 looks at the ways post-Katrina recordings by local musicians comment on the transformations in the city post-storm, interrogate the labeling of Katrina victims as refugees, and theorize New Orleans as a zone of radical potential forged out of the often mundane, sometimes heroic, relationships of its citizens, sustained through alliances with outsiders. I focus first on the New Orleans Social Club’s Sing Me Back Home and the Dirty Dozen Brass Band’s remake of Marvin Gaye’s What’s Going On. After a brief look at underground hip-hop videos, I conclude by looking at the Preservation Hall Jazz Band’s 2010 album Preservation and its collaboration that same year with rapper Mos Def and other musicians on the single “It Ain’t My Fault,” which drew attention to the BP oil spill.

Keywords:   post-Katrina recordings, refugees, Dirty Dozen Brass Band, New Orleans Social Club, Preservation Hall Jazz Band

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