|
November 21
Dedication of the Kenner Library
November
21, 1966 
Debora R. Abramson, Asst. State Librarian, George Ackel, Parish Councilman, Mrs.
Marion Stewart, Branch Manager, and Merlin Hudson, Jefferson Parish Pres. Asst. were on hand at the dedication of the Kenner
branch of the Jefferson Parish Library at 1926 Williams Blvd on Monday, November 21, 1966. (Photograph from the State Library of Louisiana)
Doctor Norman Christopher Francis, born on March 20, 1931 in Lafayette, is the president
of Xavier University of Louisiana. He has been Xavier's president since 1968, making him (as of August 2012) the longest-tenured
current leader of an American university and the only lay (non-clergy) president of Xavier. Francis is also the chairman of the Louisiana Recovery Authority, the state
agency in charge of planning the recovery and rebuilding of Louisiana after Hurricane Katrina and Hurricane Rita. On
November 21, 2008, Francis celebrated his 40th year as President of Xavier University at the 40th Anniversary
Gala, themed "Legacy for a Legend" at the Ernest N. Morial Convention Center. The event was hosted by Bill Cosby,
and featured a performance by Grammy winner Gladys Knight.
On November 21, 2006, Kentucky-New Orleans Architecture Studio was awarded the key to the city of New Orleans
for its work on restoration and re-design efforts of Mickey Markey Park in the Bywater.
On November 21, 2006, the New Orleans Aviation Board approved an air service initiative
to promote increased service to Armstrong International. Airlines qualify for a $0.75 credit per seat toward terminal use
charges for scheduled departing seats exceeding 85% of pre-Katrina capacity levels for a twelve-month period and Airlines
qualify for a waiver of landing fees for twelve months following the initiation of service to an airport not presently served
from New Orleans.
On November 21, 2004, Aaron Brooks
broke the Saints franchise record for pass attempts (60) and completions (34) in a 34-13 defeat over Denver in the Superdome.
Edward Rightor Schowalter, Jr., born in New Orleans on December 24, 1927 and a Metairie
High School graduate, received the U.S. military's highest decoration, the Medal of Honor for for commanding his company
in an assault in Korea against a fortified position, and for continuing to lead after being seriously wounded. He
was also the recipient of the the Silver Star and two Purple Hearts. Schowalter died on November 21, 2003
at age 75.
On November 21, 1976, the Saints beat the Seattle Seahawks on the road, 51-27 to tie the club record
for most points scored in a game.
George M. Leake submitted plans for Community Church Unitarian Universalist at 6690 Fleur De Lis Street on November
21, 1972.
Dixieland jazz clarinetist Lawrence James "Larry" Shields was born in uptown New Orleans
on September 13, 1893. His brothers Harry, Pat, and Eddie were profossional musicians. Shields started playing
clarinet at age 14. He played with Papa Jack Laine's bands and was one of the early New Orleans musicians to go to Chicago, in the summer of 1915 to join Bert Kelly's band. While ther he also played with Tom Brown's
band, before joining the Original Dixieland Jass Band in November 1916. In 1917 they recored the the first jazz phonograph
record. He left the Original Dixieland Jass Band in 1921 and played with various bands in New York City, including Paul Whiteman's,
before moving to Los Angeles, California where he remained throughout the 1920s, leading
his own band and appearing briefly in some Hollywood films. In the 1930s Shields returned to Chicago and joined the reformed
Original Dixieland Jazz Band. He co-wrote the band classics "Clarinet Marmalade" with Henry Ragas and "At
the Jazz Band Ball", "Ostrich Walk", and "Fidgety Feet" with Nick LaRocca. Shields played in the Assunto Brothers Dukes of Dixieland band during the early 1950's when they
performed at the Famous Door on Bourbon Street. He died in Los Angeles on November 21, 1953.
(Thanks to Deano Assunto for his contribution to this entry.)
Photos of the Seventh Street Wharf on November 21, 1938. Scroll down to the bottom of the page.
Allison and Associates submitted plans on November 21, 1921 for Mount Everest Baptist Church at 2839 First
Street.
On November 21, 1912, Ridgeley St was renamed Chapelle Street.
On November 21, 1909, Barney Oldfield, in a 200-horse-power Benz, broke the local
track record for one mile at the Fair Ground course, when he made the distance in 0:54, thus clipping one-fifth of a second
off the record, set in February by John De Palma.
On November 21, 1906, Joseph LaRocca applied for a blacksmith shop license for the location on Gentilly
Road at Crete and Maurepas in Fortin square. Taxpayers and residents protested the the re-erection of a skating rink at Carondelet
and Milan. F. Ault petitioned for a two-year extension to keep a dairy farm on Hagan Avenue before moving it out of the city
limits.
Poet and historian Marcus Bruce Christian, born in Mechanicsville, Louisiana on March 8, 1900,
lived in New Orleans from 1919 to 1976. He joined the Federal Writers' Project (FWP) in 1936 and worked under its director
Lyle Saxon. He was assigned to the "Colored Project" at Dillard University and eventually became its director until
its demise in 1943, working with Horace Mann Bond, Arna Bontemps, Elizabeth Catlett, St. Clair Drake, Octave Lilly, Jr.,
Rudolphe Moses, Benjamin Quarles, Lawrence Reddick, and Margaret Walker. Under Christian's direction, the Dillard
project provided information on black Louisianians that became part of the Federal Writers' Project publications, The New
Orleans City Guide (1938) and Louisiana: A Guide to the State (1941). Much of this research also found its way
into a book edited by Lyle Saxon, Gumbo Ya-Ya (1945). The major work of the Dillard project, "A Black History of
Louisiana," was never published but was partially revised by Christian and donated to the University of New Orleans,
Archives Division. He was the assistant librarian at Dillard University from 1944 to 1950, a special lecturer and
writer-in-residence at the University of New Orleans (1969-1976). He was a contributor to From the Deep South, edited
by Christian (1937), The Poetry of the Negro, edited by Arna Bontemps (1949), and The Negro Caravan, edited by Sterling
Brown (1941). Christian was the author of (History) Negro Soldiers in the Battle of New Orleans (1955), Negro Ironworkers
of Louisiana, 1718-1900 (1972), amd articles in Negro History Bulletin, Phylon, Louisiana Weekly, and Dictionary of Negro
American Biography. His poetry volumes include In Memoriam—Franklin Delano Roosevelt (1945), Common Peoples'
Manifesto of World War II (1948), High Ground (1958), I Am New Orleans (1968; 1976), and individual
poems in Crisis, Louisiana Weekly, Phylon, Pittsburgh Courier, and New York Herald Tribune. He died in New Orleans on November
21, 1976. Source: http://lahistory.org/site20.php
Happy Birthday Doctor John
Born
Malcolm John Rebennack, Jr., "Mac" is known to most as Dr. John. He was born in New Orleans on November
21, 1940. The following biography originally appeared in The Rolling Stone Encyclopedia of Rock & Roll
(Simon & Schuster, 2001):  Dr. John belongs to a prestigious lineage of New Orleans keyboard greats that includes such names as Professor Longhair,
Huey “Piano” Smith and Fats Domino. His name has become synonymous with the city in which he was born. Dr. John’s
music is stamped with the rhythms and traditions of the Crescent City, and he has spent a career that now spans more than
half a century championing its music. His best-known work includes Gris-Gris, an album steeped in the otherworldly
sounds of Louisianan voodoo culture; Gumbo, wherein he offered an authoritative overview of New Orleans’ finest music;
and In the Right Place, which gave him the Top Ten hit “Right Place, Wrong Time.” His concerts are ritual invocations
of New Orleans’ enduring musical spirit. More broadly, he’s helped bring the sound of New Orleans into the national
mainstream. Born Malcolm John “Mac” Rebennack, he learned piano and guitar as a child. As a child
growing up in the 1940s, he was steeped in the music of the city. “It was a special time in New Orleans,” he
told USA Today’s Edna Gunderson. “The radio stations played basically New Orleans music, and I thought that
was what the whole world heard.” His father ran an appliance store that carried records, and he also repaired P.A.
systems for clubs around town, so through him young Mac gained exposure to the world of music in New Orleans. As
a musician, he was schooled by local legends like Walter “Papoose” Nelson (Professor Longhair’s guitarist),
guitarist Roy Montrell, keyboardist James Booker and Cosimo Matassa (whose J&M Studio was the hub of the city’s
recording scene). Rebennack became one of the first white sessionmen on the local scene. A fixture in New Orleans’
clubs and studios, Rebennack found himself making music almost literally night and day. “We used to work twelve hours
a day, seven days a week, on Bourbon Street,” he told interviewer Robert Santelli. “That was real easy to do
because there were so many clubs.” He participated in sessions for records released on such labels as Ric
and Ron, Minit, Ace, Ebb, Specialty and AFO (“All For One,” started by a cooperative of New Orleans musicians). In short, Mac Rebennack was a pure product of New Orleans. “The old-timers schooled me good,” Dr. John
reflected. “They brainwashed me to respect music, whether we were playing rockabilly or blues or rock and roll.”
Mac appears here performing in New Orleans in 1958. Rebennack
began recording as far back in 1957 and released his first single under his own name, “Storm Warning,” in 1959.
As much as he loved New Orleans, he moved to Los Angeles in 1962, joining an exodus of local musicians who left town after
a new district attorney began cracking down on clubs and nightlife in an effort to curb vice. Working in L.A. with producer
Harold Battiste, a fellow Crescent City expatriate, he created the character of Dr. John the Night Tripper, a voodoo sorcerer
and healer. His first album, Gris-Gris, masterfully evoked the mystical spirit of back-alley voodoo in a musical setting
of otherworldly “N’Awlins” swamp funk, and it meshed perfectly with the age of psychedelia in which it
was released. Dr. John cut this startling release during unused session time for a Sonny and Cher album, as that duo had
become involved in a movie project. Such cuts as “I Walk on Gilded Splinters” and evoked a late-night, back-streets
netherworld of ritual and mystery. The album remains a unique achievement in the realm of popular music, a touchstone to
a world that few even knew existed. Gris-Gris was followed by three more albums in the same vein: Babylon, Remedies
and The Sun, Moon & Herbs. The last of these was intended to be a three-record set, each reflecting a different time
of day. Some sessions were conducted in England, with such musicians as Eric Clapton and Mick Jagger participating. However,
because of technical and budgetary issues, it was pared down to a single album. In the first half of the 1970s,
Dr. John released a series of albums that mixed New Orleans classics with original material, all driven by his remarkable
piano playing and superb bands. This change in direction from underground mystic to overground eminence began with Gumbo,
Dr. John’s fifth album, released in 1972. The idea that he pay tribute to New Orleans’ musical legacy came from
Jerry Wexler, the renowned producer and talent scout for Atlantic Records, who coproduced Gumbo with Harold Battiste. Dr.
John was signed to Atco, an Atlantic subsidiary, and Wexler made the suggestion after hearing him warm up with such material
in the studio. It brought broader exposure to both the artist and his former city’s musical heritage. This
paved the way for a pair of albums, In the Right Place (1973) and Desitively Bonnaroo (1974), that carried his career to
the next level. Both were made in collaboration with Allen Toussaint and the Meters, longtime stalwarts of the New Orleans
scene. “Right Place, Wrong Time,” from In the Right Place, became a Top Ten hit that spent nearly half a year
on the chart. The album’s other hit single was “Such a Night,” which Dr. John performed at the Band’s
The Last Waltz farewell concert. In the late Seventies, he moved to New York and worked with producer Tommy LiPuma
and lyricist Doc Pomus, resulting in the albums City Lights and Tango Palace. In the early Eighties he made his first solo
piano recordings (Dr. John Plays Mac Rebennack and The Brightest Smile in Town). He ended the decade with In a Sentimental
Mood, an album of standards that reunited him with LiPuma. The Nineties witnessed an artistic rebirth and rekindled
connection with his New Orleans roots. In 1992, as remarkable as it may seem, Dr. John actually recorded his first album
in New Orleans. Entitled Goin’ Back to New Orleans, it was “like a little history of New Orleans music –
from way back in the 1850s to the 1950s,” Dr. John explained. In 1998, he returned to the mystical aura of his Gris-Gris
period on Anutha Zone, which included cameos from such younger British admirers as Paul Weller and members of Spiritualized
and Supergrass. Creole Moon, released in 2001, assimilated the various aspects of New Orleans music into a tasty gumbo. In
2004, Dr. John again saluted the Big Easy’s musical heritage on N’Awlinz: Dis, Dat or D’Udda, which rounded
up such New Orleans legends as Earl Palmer, Clarence "Gatemouth" Brown, Willie Tee, Snooks Eaglin, Eddie Bo, the
Dirty Dozen Brass Band and a member of the Preservation Hall Jazz Band. Beyond his vast discography as a recording
artist, the list of sessions on which he’s played for others is lengthy and impressive enough to merit his induction
into the Rock and Roll Hall of Fame as a sideman, too. Dr. John’s bottomless sessionography includes releases by Maria
Muldaur, Johnny Winter, Buddy Guy and Junior Wells, Van Morrison, the Band, Frank Zappa, Ringo Starr, Canned Heat, the Rolling
Stones and countless others. He’s even done well for himself as a jingle writer, tinkling the ivories on funky-sounding
commercials for Levi’s blues jeans and Popeye’s Chicken.  For more than three decades Dr. John has been a perennial performer at the New Orleans Jazz and Heritage Festival. He appears
here playing at the 2010 Fest. He has also become an unofficial spokesman and ambassador for the city and its musical history.
Meanwhile he continues to make creative, challenging records in the New Orleans style. In 2008 Dr. John and his
band, the Lower 911, released City That Care Forgot. The most topical and hard-hitting album of his career, it addressed
the toll taken on his beloved hometown by decades of neglect and its near destruction by Hurricane Katrina in 2005. City
That Care Forgot won Dr. John a Grammy for Best Contemporary Blues Album – the fifth of his career. Meanwhile, he
continues to keep the city’s musical heritage and history alive. “The most important thing to remember
is this: New Orleans music was not invented,” Dr. John noted in 1992. “It kind of grew up naturally...joyously...just
for fun. That’s it. Just plain down-to-earth happy-times music. When I was growing up in the Third Ward, I used to
think, ‘Oh, man, this music makes me feel the best!” Dr. John belongs to a prestigious lineage of New Orleans keyboard greats that includes
such names as Professor Longhair, Huey “Piano” Smith and Fats Domino. His name has become synonymous with the
city in which he was born. Dr. John’s music is stamped with the rhythms and traditions of the Crescent City, and he
has spent a career that now spans more than half a century championing its music. His best-known work includes
Gris-Gris, an album steeped in the otherworldly sounds of Louisianan voodoo culture; Gumbo, wherein he offered an authoritative
overview of New Orleans’ finest music; and In the Right Place, which gave him the Top Ten hit “Right Place,
Wrong Time.” His concerts are ritual invocations of New Orleans’ enduring musical spirit. More broadly, he’s
helped bring the sound of New Orleans into the national mainstream. Born Malcolm John “Mac” Rebennack,
he learned piano and guitar as a child. As a child growing up in the 1940s, he was steeped in the music of the city. “It
was a special time in New Orleans,” he told USA Today’s Edna Gunderson. “The radio stations played basically
New Orleans music, and I thought that was what the whole world heard.” His father ran an appliance store that carried
records, and he also repaired P.A. systems for clubs around town, so through him young Mac gained exposure to the world of
music in New Orleans. As a musician, he was schooled by local legends like Walter “Papoose” Nelson
(Professor Longhair’s guitarist), guitarist Roy Montrell, keyboardist James Booker and Cosimo Matassa (whose J&M
Studio was the hub of the city’s recording scene). Rebennack became one of the first white sessionmen on the local
scene. A fixture in New Orleans’ clubs and studios, Rebennack found himself making music almost literally night and
day. “We used to work twelve hours a day, seven days a week, on Bourbon Street,” he told interviewer Robert
Santelli. “That was real easy to do because there were so many clubs.” He participated in sessions
for records released on such labels as Ric and Ron, Minit, Ace, Ebb, Specialty and AFO (“All For One,” started
by a cooperative of New Orleans musicians). In short, Mac Rebennack was a pure product of New Orleans. “The
old-timers schooled me good,” Dr. John reflected. “They brainwashed me to respect music, whether we were playing
rockabilly or blues or rock and roll.” Rebennack began recording as far back in 1957 and released his first
single under his own name, “Storm Warning,” in 1959. As much as he loved New Orleans, he moved to Los Angeles
in 1962, joining an exodus of local musicians who left town after a new district attorney began cracking down on clubs and
nightlife in an effort to curb vice. Working in L.A. with producer Harold Battiste, a fellow Crescent City expatriate, he
created the character of Dr. John the Night Tripper, a voodoo sorcerer and healer. His first album, Gris-Gris, masterfully
evoked the mystical spirit of back-alley voodoo in a musical setting of otherworldly “N’Awlins” swamp
funk, and it meshed perfectly with the age of psychedelia in which it was released. Dr. John cut this startling release during
unused session time for a Sonny and Cher album, as that duo had become involved in a movie project. Such cuts as “I
Walk on Gilded Splinters” and evoked a late-night, back-streets netherworld of ritual and mystery. The album remains
a unique achievement in the realm of popular music, a touchstone to a world that few even knew existed. Gris-Gris
was followed by three more albums in the same vein: Babylon, Remedies and The Sun, Moon & Herbs. The last of these was
intended to be a three-record set, each reflecting a different time of day. Some sessions were conducted in England, with
such musicians as Eric Clapton and Mick Jagger participating. However, because of technical and budgetary issues, it was pared
down to a single album. In the first half of the 1970s, Dr. John released a series of albums that mixed New
Orleans classics with original material, all driven by his remarkable piano playing and superb bands. This change in direction
from underground mystic to overground eminence began with Gumbo, Dr. John’s fifth album, released in 1972. The idea
that he pay tribute to New Orleans’ musical legacy came from Jerry Wexler, the renowned producer and talent scout
for Atlantic Records, who coproduced Gumbo with Harold Battiste. Dr. John was signed to Atco, an Atlantic subsidiary, and
Wexler made the suggestion after hearing him warm up with such material in the studio. It brought broader exposure to both
the artist and his former city’s musical heritage. This paved the way for a pair of albums, In the Right
Place (1973) and Desitively Bonnaroo (1974), that carried his career to the next level. Both were made in collaboration
with Allen Toussaint and the Meters, longtime stalwarts of the New Orleans scene. “Right Place, Wrong Time,”
from In the Right Place, became a Top Ten hit that spent nearly half a year on the chart. The album’s other hit single
was “Such a Night,” which Dr. John performed at the Band’s The Last Waltz farewell concert. In
the late Seventies, he moved to New York and worked with producer Tommy LiPuma and lyricist Doc Pomus, resulting in the
albums City Lights and Tango Palace. In the early Eighties he made his first solo piano recordings (Dr. John Plays Mac Rebennack
and The Brightest Smile in Town). He ended the decade with In a Sentimental Mood, an album of standards that reunited him
with LiPuma. The Nineties witnessed an artistic rebirth and rekindled connection with his New Orleans roots.
In 1992, as remarkable as it may seem, Dr. John actually recorded his first album in New Orleans. Entitled Goin’ Back
to New Orleans, it was “like a little history of New Orleans music – from way back in the 1850s to the 1950s,”
Dr. John explained. In 1998, he returned to the mystical aura of his Gris-Gris period on Anutha Zone, which included cameos
from such younger British admirers as Paul Weller and members of Spiritualized and Supergrass. Creole Moon, released in
2001, assimilated the various aspects of New Orleans music into a tasty gumbo. In 2004, Dr. John again saluted the Big Easy’s
musical heritage on N’Awlinz: Dis, Dat or D’Udda, which rounded up such New Orleans legends as Earl Palmer,
Clarence "Gatemouth" Brown, Willie Tee, Snooks Eaglin, Eddie Bo, the Dirty Dozen Brass Band and a member of the
Preservation Hall Jazz Band. Beyond his vast discography as a recording artist, the list of sessions on which
he’s played for others is lengthy and impressive enough to merit his induction into the Rock and Roll Hall of Fame
as a sideman, too. Dr. John’s bottomless sessionography includes releases by Maria Muldaur, Johnny Winter, Buddy Guy
and Junior Wells, Van Morrison, the Band, Frank Zappa, Ringo Starr, Canned Heat, the Rolling Stones and countless others.
He’s even done well for himself as a jingle writer, tinkling the ivories on funky-sounding commercials for Levi’s
blues jeans and Popeye’s Chicken. For more than three decades Dr. John has been a perennial performer at
the New Orleans Jazz and Heritage Festival. He has also become an unofficial spokesman and ambassador for the city and its
musical history. Meanwhile he continues to make creative, challenging records in the New Orleans style. In
2008 Dr. John and his band, the Lower 911, released City That Care Forgot. The most topical and hard-hitting album of his
career, it addressed the toll taken on his beloved hometown by decades of neglect and its near destruction by Hurricane
Katrina in 2005. City That Care Forgot won Dr. John a Grammy for Best Contemporary Blues Album – the fifth of his
career. Meanwhile, he continues to keep the city’s musical heritage and history alive. “The most important
thing to remember is this: New Orleans music was not invented,” Dr. John noted in 1992. “It kind of grew up
naturally...joyously...just for fun. That’s it. Just plain down-to-earth happy-times music. When I was growing up in
the Third Ward, I used to think, ‘Oh, man, this music makes me feel the best!” - See more at: http://rockhall.com/inductees/dr-john/bio/#sthash.0Zkfduqd.dpuf Dr. John belongs to a prestigious lineage of New Orleans
keyboard greats that includes such names as Professor Longhair, Huey “Piano” Smith and Fats Domino. His name
has become synonymous with the city in which he was born. Dr. John’s music is stamped with the rhythms and traditions
of the Crescent City, and he has spent a career that now spans more than half a century championing its music.
His best-known work includes Gris-Gris, an album steeped in the otherworldly sounds of Louisianan voodoo culture; Gumbo,
wherein he offered an authoritative overview of New Orleans’ finest music; and In the Right Place, which gave him the
Top Ten hit “Right Place, Wrong Time.” His concerts are ritual invocations of New Orleans’ enduring musical
spirit. More broadly, he’s helped bring the sound of New Orleans into the national mainstream.
Born Malcolm
John “Mac” Rebennack, he learned piano and guitar as a child. As a child growing up in the 1940s, he was steeped
in the music of the city. “It was a special time in New Orleans,” he told USA Today’s Edna Gunderson.
“The radio stations played basically New Orleans music, and I thought that was what the whole world heard.” His
father ran an appliance store that carried records, and he also repaired P.A. systems for clubs around town, so through
him young Mac gained exposure to the world of music in New Orleans.
As a musician, he was schooled by local legends
like Walter “Papoose” Nelson (Professor Longhair’s guitarist), guitarist Roy Montrell, keyboardist James
Booker and Cosimo Matassa (whose J&M Studio was the hub of the city’s recording scene). Rebennack became one of
the first white sessionmen on the local scene. A fixture in New Orleans’ clubs and studios, Rebennack found himself
making music almost literally night and day. “We used to work twelve hours a day, seven days a week, on Bourbon Street,”
he told interviewer Robert Santelli. “That was real easy to do because there were so many clubs.”
He
participated in sessions for records released on such labels as Ric and Ron, Minit, Ace, Ebb, Specialty and AFO (“All
For One,” started by a cooperative of New Orleans musicians).
In short, Mac Rebennack was a pure product
of New Orleans. “The old-timers schooled me good,” Dr. John reflected. “They brainwashed me to respect
music, whether we were playing rockabilly or blues or rock and roll.”
Rebennack began recording as far
back in 1957 and released his first single under his own name, “Storm Warning,” in 1959. As much as he loved
New Orleans, he moved to Los Angeles in 1962, joining an exodus of local musicians who left town after a new district attorney
began cracking down on clubs and nightlife in an effort to curb vice. Working in L.A. with producer Harold Battiste, a fellow
Crescent City expatriate, he created the character of Dr. John the Night Tripper, a voodoo sorcerer and healer. His first
album, Gris-Gris, masterfully evoked the mystical spirit of back-alley voodoo in a musical setting of otherworldly “N’Awlins”
swamp funk, and it meshed perfectly with the age of psychedelia in which it was released. Dr. John cut this startling release
during unused session time for a Sonny and Cher album, as that duo had become involved in a movie project. Such cuts as
“I Walk on Gilded Splinters” and evoked a late-night, back-streets netherworld of ritual and mystery. The album
remains a unique achievement in the realm of popular music, a touchstone to a world that few even knew existed.
Gris-Gris was followed by three more albums in the same vein: Babylon, Remedies and The Sun, Moon & Herbs. The last
of these was intended to be a three-record set, each reflecting a different time of day. Some sessions were conducted in
England, with such musicians as Eric Clapton and Mick Jagger participating. However, because of technical and budgetary issues,
it was pared down to a single album.
In the first half of the 1970s, Dr. John released a series of albums that
mixed New Orleans classics with original material, all driven by his remarkable piano playing and superb bands. This change
in direction from underground mystic to overground eminence began with Gumbo, Dr. John’s fifth album, released in
1972. The idea that he pay tribute to New Orleans’ musical legacy came from Jerry Wexler, the renowned producer and
talent scout for Atlantic Records, who coproduced Gumbo with Harold Battiste. Dr. John was signed to Atco, an Atlantic subsidiary,
and Wexler made the suggestion after hearing him warm up with such material in the studio. It brought broader exposure to
both the artist and his former city’s musical heritage.
This paved the way for a pair of albums, In the
Right Place (1973) and Desitively Bonnaroo (1974), that carried his career to the next level. Both were made in collaboration
with Allen Toussaint and the Meters, longtime stalwarts of the New Orleans scene. “Right Place, Wrong Time,”
from In the Right Place, became a Top Ten hit that spent nearly half a year on the chart. The album’s other hit single
was “Such a Night,” which Dr. John performed at the Band’s The Last Waltz farewell concert.
In
the late Seventies, he moved to New York and worked with producer Tommy LiPuma and lyricist Doc Pomus, resulting in the
albums City Lights and Tango Palace. In the early Eighties he made his first solo piano recordings (Dr. John Plays Mac Rebennack
and The Brightest Smile in Town). He ended the decade with In a Sentimental Mood, an album of standards that reunited him
with LiPuma.
The Nineties witnessed an artistic rebirth and rekindled connection with his New Orleans roots.
In 1992, as remarkable as it may seem, Dr. John actually recorded his first album in New Orleans. Entitled Goin’ Back
to New Orleans, it was “like a little history of New Orleans music – from way back in the 1850s to the 1950s,”
Dr. John explained. In 1998, he returned to the mystical aura of his Gris-Gris period on Anutha Zone, which included cameos
from such younger British admirers as Paul Weller and members of Spiritualized and Supergrass. Creole Moon, released in
2001, assimilated the various aspects of New Orleans music into a tasty gumbo. In 2004, Dr. John again saluted the Big Easy’s
musical heritage on N’Awlinz: Dis, Dat or D’Udda, which rounded up such New Orleans legends as Earl Palmer,
Clarence "Gatemouth" Brown, Willie Tee, Snooks Eaglin, Eddie Bo, the Dirty Dozen Brass Band and a member of the
Preservation Hall Jazz Band.
Beyond his vast discography as a recording artist, the list of sessions on which
he’s played for others is lengthy and impressive enough to merit his induction into the Rock and Roll Hall of Fame
as a sideman, too. Dr. John’s bottomless sessionography includes releases by Maria Muldaur, Johnny Winter, Buddy Guy
and Junior Wells, Van Morrison, the Band, Frank Zappa, Ringo Starr, Canned Heat, the Rolling Stones and countless others.
He’s even done well for himself as a jingle writer, tinkling the ivories on funky-sounding commercials for Levi’s
blues jeans and Popeye’s Chicken.
For more than three decades Dr. John has been a perennial performer at
the New Orleans Jazz and Heritage Festival. He has also become an unofficial spokesman and ambassador for the city and its
musical history. Meanwhile he continues to make creative, challenging records in the New Orleans style.
In
2008 Dr. John and his band, the Lower 911, released City That Care Forgot. The most topical and hard-hitting album of his
career, it addressed the toll taken on his beloved hometown by decades of neglect and its near destruction by Hurricane
Katrina in 2005. City That Care Forgot won Dr. John a Grammy for Best Contemporary Blues Album – the fifth of his
career. Meanwhile, he continues to keep the city’s musical heritage and history alive.
“The most important
thing to remember is this: New Orleans music was not invented,” Dr. John noted in 1992. “It kind of grew up
naturally...joyously...just for fun. That’s it. Just plain down-to-earth happy-times music. When I was growing up in
the Third Ward, I used to think, ‘Oh, man, this music makes me feel the best!” - See more at: http://rockhall.com/inductees/dr-john/bio/#sthash.0Zkfduqd.dpuf Dr. John
belongs to a prestigious lineage of New Orleans keyboard greats that includes such names as Professor Longhair, Huey “Piano”
Smith and Fats Domino. His name has become synonymous with the city in which he was born. Dr. John’s music is stamped
with the rhythms and traditions of the Crescent City, and he has spent a career that now spans more than half a century
championing its music.
His best-known work includes Gris-Gris, an album steeped in the otherworldly sounds of
Louisianan voodoo culture; Gumbo, wherein he offered an authoritative overview of New Orleans’ finest music; and In
the Right Place, which gave him the Top Ten hit “Right Place, Wrong Time.” His concerts are ritual invocations
of New Orleans’ enduring musical spirit. More broadly, he’s helped bring the sound of New Orleans into the national
mainstream.
Born Malcolm John “Mac” Rebennack, he learned piano and guitar as a child. As a child
growing up in the 1940s, he was steeped in the music of the city. “It was a special time in New Orleans,” he
told USA Today’s Edna Gunderson. “The radio stations played basically New Orleans music, and I thought that
was what the whole world heard.” His father ran an appliance store that carried records, and he also repaired P.A.
systems for clubs around town, so through him young Mac gained exposure to the world of music in New Orleans.
As
a musician, he was schooled by local legends like Walter “Papoose” Nelson (Professor Longhair’s guitarist),
guitarist Roy Montrell, keyboardist James Booker and Cosimo Matassa (whose J&M Studio was the hub of the city’s
recording scene). Rebennack became one of the first white sessionmen on the local scene. A fixture in New Orleans’
clubs and studios, Rebennack found himself making music almost literally night and day. “We used to work twelve hours
a day, seven days a week, on Bourbon Street,” he told interviewer Robert Santelli. “That was real easy to do
because there were so many clubs.”
He participated in sessions for records released on such labels as Ric
and Ron, Minit, Ace, Ebb, Specialty and AFO (“All For One,” started by a cooperative of New Orleans musicians).
In short, Mac Rebennack was a pure product of New Orleans. “The old-timers schooled me good,” Dr. John
reflected. “They brainwashed me to respect music, whether we were playing rockabilly or blues or rock and roll.”
Rebennack began recording as far back in 1957 and released his first single under his own name, “Storm Warning,”
in 1959. As much as he loved New Orleans, he moved to Los Angeles in 1962, joining an exodus of local musicians who left
town after a new district attorney began cracking down on clubs and nightlife in an effort to curb vice. Working in L.A.
with producer Harold Battiste, a fellow Crescent City expatriate, he created the character of Dr. John the Night Tripper,
a voodoo sorcerer and healer. His first album, Gris-Gris, masterfully evoked the mystical spirit of back-alley voodoo in
a musical setting of otherworldly “N’Awlins” swamp funk, and it meshed perfectly with the age of psychedelia
in which it was released. Dr. John cut this startling release during unused session time for a Sonny and Cher album, as
that duo had become involved in a movie project. Such cuts as “I Walk on Gilded Splinters” and evoked a late-night,
back-streets netherworld of ritual and mystery. The album remains a unique achievement in the realm of popular music, a touchstone
to a world that few even knew existed.
Gris-Gris was followed by three more albums in the same vein: Babylon,
Remedies and The Sun, Moon & Herbs. The last of these was intended to be a three-record set, each reflecting a different
time of day. Some sessions were conducted in England, with such musicians as Eric Clapton and Mick Jagger participating.
However, because of technical and budgetary issues, it was pared down to a single album.
In the first half of
the 1970s, Dr. John released a series of albums that mixed New Orleans classics with original material, all driven by his
remarkable piano playing and superb bands. This change in direction from underground mystic to overground eminence began
with Gumbo, Dr. John’s fifth album, released in 1972. The idea that he pay tribute to New Orleans’ musical legacy
came from Jerry Wexler, the renowned producer and talent scout for Atlantic Records, who coproduced Gumbo with Harold Battiste.
Dr. John was signed to Atco, an Atlantic subsidiary, and Wexler made the suggestion after hearing him warm up with such
material in the studio. It brought broader exposure to both the artist and his former city’s musical heritage.
This paved the way for a pair of albums, In the Right Place (1973) and Desitively Bonnaroo (1974), that carried his career
to the next level. Both were made in collaboration with Allen Toussaint and the Meters, longtime stalwarts of the New Orleans
scene. “Right Place, Wrong Time,” from In the Right Place, became a Top Ten hit that spent nearly half a year
on the chart. The album’s other hit single was “Such a Night,” which Dr. John performed at the Band’s
The Last Waltz farewell concert.
In the late Seventies, he moved to New York and worked with producer Tommy LiPuma
and lyricist Doc Pomus, resulting in the albums City Lights and Tango Palace. In the early Eighties he made his first solo
piano recordings (Dr. John Plays Mac Rebennack and The Brightest Smile in Town). He ended the decade with In a Sentimental
Mood, an album of standards that reunited him with LiPuma.
The Nineties witnessed an artistic rebirth and rekindled
connection with his New Orleans roots. In 1992, as remarkable as it may seem, Dr. John actually recorded his first album
in New Orleans. Entitled Goin’ Back to New Orleans, it was “like a little history of New Orleans music –
from way back in the 1850s to the 1950s,” Dr. John explained. In 1998, he returned to the mystical aura of his Gris-Gris
period on Anutha Zone, which included cameos from such younger British admirers as Paul Weller and members of Spiritualized
and Supergrass. Creole Moon, released in 2001, assimilated the various aspects of New Orleans music into a tasty gumbo. In
2004, Dr. John again saluted the Big Easy’s musical heritage on N’Awlinz: Dis, Dat or D’Udda, which rounded
up such New Orleans legends as Earl Palmer, Clarence "Gatemouth" Brown, Willie Tee, Snooks Eaglin, Eddie Bo, the
Dirty Dozen Brass Band and a member of the Preservation Hall Jazz Band.
Beyond his vast discography as a recording
artist, the list of sessions on which he’s played for others is lengthy and impressive enough to merit his induction
into the Rock and Roll Hall of Fame as a sideman, too. Dr. John’s bottomless sessionography includes releases by Maria
Muldaur, Johnny Winter, Buddy Guy and Junior Wells, Van Morrison, the Band, Frank Zappa, Ringo Starr, Canned Heat, the Rolling
Stones and countless others. He’s even done well for himself as a jingle writer, tinkling the ivories on funky-sounding
commercials for Levi’s blues jeans and Popeye’s Chicken.
For more than three decades Dr. John has
been a perennial performer at the New Orleans Jazz and Heritage Festival. He has also become an unofficial spokesman and
ambassador for the city and its musical history. Meanwhile he continues to make creative, challenging records in the
New Orleans style.
In 2008 Dr. John and his band, the Lower 911, released City That Care Forgot. The most topical
and hard-hitting album of his career, it addressed the toll taken on his beloved hometown by decades of neglect and its
near destruction by Hurricane Katrina in 2005. City That Care Forgot won Dr. John a Grammy for Best Contemporary Blues Album
– the fifth of his career. Meanwhile, he continues to keep the city’s musical heritage and history alive.
“The most important thing to remember is this: New Orleans music was not invented,” Dr. John noted in
1992. “It kind of grew up naturally...joyously...just for fun. That’s it. Just plain down-to-earth happy-times
music. When I was growing up in the Third Ward, I used to think, ‘Oh, man, this music makes me feel the best!”
- See more at: http://rockhall.com/inductees/dr-john/bio/#sthash.0Zkfduqd.dpuf Combining New Orleans
funk, glitter, and voodoo charm, pianist Dr. John was an energetic frontman in the early 1970s ("Right Place, Wrong
Time") and a behind-the-scenes mover before and since. Rebennack got his first taste of show
biz through his mother, a model who got young Malcolm's face on Ivory Soap boxes; his father ran a record store. By his
early teens he was an accomplished pianist and guitarist. From hanging around his dad's store and at Cosimo Matassa's studio,
he got to know local musicians. By the mid-1950s he was doing session work with Professor Longhair,
Frankie Ford, and Joe Tex. He also helped form the black artists' cooperative AFO (All for One) Records, and he was the
first white man on the roster. By the start of the '60s he had graduated to producing and arranging sessions for others
(Lee Allen, Red Tyler, Earl Palmer) and recording some on his own (notably 1959's "Storm Warning" on Rex Records).
Rebennack's reputation was based on his guitar and keyboard playing, but a hand wound suffered in a 1961 barroom gunfight
forced him to take up bass with a Dixieland band. In the mid-'60s Rebennack moved to L.A. and became
a session regular, notably for producer Phil Spector. He played in various unsuccessful, wildly named bands like the Zu
Zu Band (with Jessie Hill) and Morgus and the Three Ghouls. He also developed an interest in voodoo, to which he had been
introduced by a mystical voodoo artist named Prince Lala in the '50s at AFO. In 1968 Rebennack unveiled his new public persona
of Dr. John Creaux the Night Tripper (later shortened to Dr. John) after a New Orleans crony, Ronnie Barron, decided not
to front the act. With New Orleans associates (Hill as Dr. Poo Pah Doo and Harold Battiste as Dr. Battiste of Scorpio of
bass clef), he recorded Gris-Gris for Atlantic in 1968. As indicated by the song titles —"I Walk on Gilded
Splinters," "Gris Gris Gumbo Ya Ya," "Croker Courtbouillion" —it was a brew of traditional
Creole chants, mystical imagery, and traces of psychedelia, an influence underscored by Rebennack's onstage wardrobe (brightly
colored robes, feathered headdresses, and a Mardi Gras–style retinue of dancers and singers). Dr.
John slowly acquired a loyal cult following, including Eric Clapton and Mick Jagger, who played on The Sun, Moon &
Herbs. He moved to the more accessible regions of funk (backed by the Meters) on In the Right Place (#24, 1973).
Produced by Allen Toussaint (who also played in Dr. John's band on a 1973 tour and who produced Desitively Bonnaroo)
"Right Place, Wrong Time" (#9) was his biggest hit, followed a few months later by "Such a Night" (#42).
In 1973 Dr. John also worked in Triumvirate, a short-lived trio with Mike Bloomfield and John Hammond Jr. (John Paul Hammond).
He appeared in the Band's 1978 farewell concert film, The Last Waltz. In 1981 he released the first of several solo
piano LPs, Dr. John Plays Mac Rebennack. In the late '80s, Dr. John began reaching back to
his New Orleans roots —while also subtly mainstreaming his appeal. His 1989 In a Sentimental Mood collected
old blues and saloon standards, and earned him his first Grammy, for his duet with Rickie Lee Jones on "Makin' Whoopee!"
Bluesianna Triangle detoured into jazz, with drummer Art Blakey and saxophonist David "Fathead" Newman,
while Goin' Back to New Orleans —with a cast of New Orleans all-stars featuring Al Hirt, Pete Fountain, Danny
Barker, Alvin "Red" Tyler, and the Neville Brothers —won him another Grammy. By that time his gruff baritone
voice had become familiar to millions through a succession of TV commercial jingles. In 1991 rap group P.M. Dawn sampled
from one of Dr. John's oldest tracks, "I Walk on Gilded Splinters"; two years later Beck sampled the same track
for his folk-rap slacker anthem, "Loser." In 1993 Dr. John published his autobiography, Under a Hoodoo Moon: The Life of Dr. John the Night Tripper (1998) features a range of guests, notably members of the U.K. space-rock band Spiritualized. Photos
from NPR.
Baseball Great Mel Ott Dies in New Orleans
Auto Accident Takes His Life, Injures His Wife
November 21, 1958
Gretna born right fielder Mel Ott set the
National League Baseball record for most walks in a doubleheader with six, on October 5, 1929 and did it
again on April 30, 1944. When he appeared on the July 2, 1945 edition of Time Magazine the cover story included
“In 1941 Brooklyn won the pennant and the Giants got a new manager: Melvin Thomas Ott, the club's slugging right fielder
with a peculiar but potent cocked-leg stand. The feud was and still is in flower, but hard as they tried, the Flatbush faithful
could not hate stumpy, boyish Mel Ott. A soft spoken, brown-eyed little (5 ft. 9 in.) guy with a passive Southern
accent and an active taste for Crayfish Bisque New Orleans style, Playing Manager Mel has long been a favorite of fans everywhere.
More important than his batting records, he had something that made people like him." Melvin Thomas Ott was born on March 2, 1909 and later nicknamed "Master Melvin". played
his entire career for the New York Giants (1926–1947). In his 22-season career, Ott batted
.304 with 511 home runs, 1,860 RBIs, 1,859 runs, 2,876 hits,
488 doubles, 72 triples, 89 stolen bases, a .414 on base percentage and a .533 batting
average. He was the first National League player to surpass 500 home runs. He was a 12-time major league All-Star (from 1934 to 1945) and was named four times to the
All-Star Teams of The Sporting News (1934-36 and 1938) He is one of only six players
to have spent over 20 years with one team. In 1999, he ranked number 42 on The Sporting
News' list of the 100 Greatest Baseball Players, and he was a nominee for the Major League Baseball All-Century
Team.
1946 BILL DICKEY AND MEL OTT CHESTERFIELD Display Advertisement
reads,"With the fans at Yankee Stadium & Polo Grounds - Chesterfield is by far the largest selling cigarette - Always
buy Chesterfield." Mel Ott managed the New York Giants for seven years between 1942 and 1948. It
was in reference to Ott's supposedly easy-going managing style that then-Dodgers manager Leo Durocher made the oft-quoted
and somewhat out-of-context comment, "Nice guys finish last!" Ott was the first manager
to be ejected from both games of a doubleheader, when the Giants lost both games to the Pittsburgh Pirates on June 9 1946.
His number "4" was retired by the Giants
in 1949, and it is posted on the facade of the upper deck in the left field corner of AT&T Park. He was selected
to the Baseball Hall of Fame in 1951 with 87% of the vote.
After his playing career was over, Ott broadcast baseball on the Mutual radio network in 1955.
From 1956 to 1958, Ott teamed with Van Patrick to broadcast the games of the Detroit Tigers on radio and television. Ott died at Touro Infirmary after an auto accident, which also seriously injured his wife, on November 21, 1958 in New Orleans. He is interred
in Metairie Cemetery. He is remembered in his hometown of Gretna, where a park is named in his honor. Since
1959, the National League has honored the league's annual home run champion with the Mel Ott Award.
In the 1989 film Field of Dreams, Ott was one of several deceased players portrayed
in farmer Ray Kinsella's Iowa cornfield. In 2006, Ott was featured on a U.S. postage stamp, as one of a block of four honoring
"Baseball Sluggers" — the others being Mickey Mantle, Hank Greenberg, and Roy Campanella. In announcing the
stamps, the U.S. Postal Service stated, "Remembered as powerful hitters who wowed fans with awesome and often record-breaking
home runs, these four men were also versatile players who helped to lead their teams to victory and set impressive standards
for subsequent generations". Ott is also remembered in the name
of the Little League of Amherst, New York which was named for him in 1959.
Henriette Delille
Founds the Congregation of the Sisters of the Holy Family November 21, 1842
A New Orleans lady, born in 1813 to a wealthy Frenchman and a quadroon free woman of color, who rejected
the social norms of her times is now the first U.S. native-born African American religious leader whose cause for canonization
was officially opened by the Catholic Church.  Henriette Delille's birth was the results of a placage, an extralegal "common law" system which became
institutionalized in our city during the Colonial Era. The arrangements included contracts or negotiations between white
men and free women of color which stipulated the financial and/or housing arrangements for woman, the settlement of property,
and, many times, paternal recognition of any children the union produced. The woman's mother usually negotiated the terms
of the agreements, including the financial payment to the parent. To our modern sensibilities, such arrangements
seem arcahaic but they were acceptable in their day and provided mixed-race women with social prestige and financial security.
Dellille had been groomed for such an arrangement. Her mother taught her French literature, music, dancing, and nursing.
Her mother kept an eye on Henriette when she attended many quadroon balls, which were the young women's introductions
into the social world which would lead to their arranged "marriages". An independent woman and a feminist
(before the word had been coined), Delille became a social worker, educator, and a nun. Ironically, the most popular
location for hosting quadroon balls would later become the convent and school of the order of religious sisters founded by
Henriette Delille. During the 1820s, Delille and Juliette Gaudin, a young Cuban woman, began
aiding slaves, orphan girls, the uneducated, the sick and the elderly people of color in New Orleans. In
1835, at the age of 22, she sold all of her property with the intention of founding a community of women to teach for
free girls of color. Numerous recordings in archival records at the Saint Louis Cathedral show that, at the age of
23, Henriette had begun her apostolic ministry as baptismal sponsor and witness for slaves. On November
21, 1836, a small unrecognized congregation or order of nuns, the Sisters of the Presentation of the Blessed Virgin
Mary, was organized. The original members consisted of Henriette, Juliette Gaudin, six other young Créole women, and
a young French woman. After several failed attempts, Delille and Juliette Gaudin received permission from the diocese to
begin a new religious order. Their board was composed of a director, president, vice-president, secretary, treasurer and
vice-treasurer. The sisters and laypersons of this society were called upon to teach religious principles and the most important
points of Christian morality. In 1837, Father Etienne Rousselon secured formal recognition of the new congregation
from the Holy See. Sanctioned by the church, their main purpose was to care for slaves, the sick, and the poor.
Six years later, at the urging of Jeanne Marie Aliquot (an early supporter of St. Augustine Church)
and the counseling of Pere Etienne Rousselon (vica-general of the diocese), Delille and Gaudin knelt publicly at the
altar of St. Augustine Church on November 21, 1842 and pledged to live in community to work for orphan
girls, the uneducated, the poor, the sick and the elderly among the free people of color, thus founding the Congregation
of the Sisters of the Holy Family -- the second-oldest African-American congregation of religious women. In
1843, catechism classes were conducted for adults and children on St. Augustine's property at Bayou Road (now Governor Nicholls).
Delille and Gaudin were later joined by Josephine Charles; the first three novices, Delille, Gaudin and Charles, are considered
the founders of the congregation. Although the primary work of the sisters was in the area of education, during her tenure
as head of the order, Delille made it possible for the order to build a home for the sick, aged, and poor Black residents
of the city. By 1847 the apostolate of the three sisters was supported by an association of men and
women incorporated as the Association de la Sainte Famille. Their mission was for the relief of infirm and indigent persons.
They eventually acquired a building that was known as Hospice de la Societe de la Sainte Famille. Through legal incorporation
and fund-raising, they erected the building on two lots situated on St. Bernard between Plauche and Villere streets. The
hospice was blessed on June 10, 1849. When Henriette’s mother died in
1848, she inherited $1,200 which she used, along with borrowed money, to arrange for the purchase of property on Bayou Road
and declared this transaction to be solely for the purpose of establishing an institution for the religious education according
to Catholic doctrine for persons of color. This became the orders first "House" (convent and school) of The
Sisters of the Holy Family. But it wasn't until October 15, 1852, when Henriette, Juliette, and Josephine
pronounced first vows of poverty, chastity, and obedience to God in St. Augustine Church before Père Rousselon,
that they first wore the black habit of a religious order.
 Henriette Delille passed away on November 16, 1862 at the age of 50. It is thought that her
death was a result of tuberculosis. Her funeral was held at St. Augustine church. She is buried in St. Louis Cemetery
No. 2. The order she founded continued her legacy by opening a convent school on Chartres street
on December 3, 1867, five years after her death. In 1880 they moved the mother house at 717 Orleans Avenue,
between Bourbon and Royal streets -- the site of the Orleans Theatre, the Quadroon balls, the First District Court, and finally
the Bourbon Orleans Hotel ( Photo of the school.convent) In 1883, the order opened a convent in Opelousas. In 1875 the opened a home for aged and
infirm people of color on St. Bernard Avenue between Villere and Marais streets. An orphanage was opened on
June 22, 1879 on Conti Street. In 1892, they opened school for boys and St. John Berchman's Orphan Asylum for
girls. At the time of her death, her order included twelve nuns. 1909, it had grown to
150 members, and operated parochial schools in New Orleans that served 1,300 students. By 1950, membership in the order
peaked at 400. Her Sisters have served the poor by operating free schools for children, nursing homes, and retirement
homes in Louisiana, Texas, California, Washington, D.C., Oklahoma, Alabama, Florida, Belize, Panama, and Nigeria.
In April 1988, Mother Rose de Lima Hazeur, Superior General of the Sisters of the Holy Family. requested
Archbishop Philip M. Hannan to initiate the canonization of Henriette Delille. In 1989 the order formally opened its
cause with the Vatican. On November 10, 2006, the decree of judicial validity was issued in the
investigation into the life, virtues and reputation of sanctity of Mother Henriette Delille. She was declared venerable
in 2010. A prayer room in the rear of St. Louis Cathedral (where slaves were thought to have been
baptized) was commissioned by its rector Reverend Monsignor Crosby W. Kern in her honor.
In
2011, the City of New Orleans renamed St. Claude Street in Treme in her honor. Henriette Delille Street now runs at
what was the 1000 through 1800 blocks of St. Claude, from St. Philip Street, at the edge of Louis Armstrong Park, to Pauger
Street, where St. Claude Street and McShane Place come together to form St. Claude Avenue. The photo
above was taken by Sister Doris Goudeaux in 2008 of the three founding members' tomb in St. Louis Cemetery No. 2.
In summing up Henreitte Delille's life and mission, Sylvia Thibodeaux, a modern Sister of the Holy Family, told the
Los Angeles Times, "She was the servant of slaves. You can't get more committed than that.
|
