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The glitter and glitz of Mardi Gras in New Orleans draw people in, year after year. Floats, throws, and music all make memories that last a lifetime. In this joyful volume of photographs and essays, renowned photographer Judi Bottoni and Mardi Gras expert Peggy Scott Laborde capture some of the best moments from today’s Mardi Gras celebrations. From the Twelfth Night Revelers heralding the start of Carnival season to Zulu and Rex bringing it to a triumphant close, Mardi Gras Moments highlights what makes the experience unforgettable. Relive scenes and music from famous parades and experience the signature floats that return year after year, including Endymion’s Pontchartrain Beach Float, Orpheus’s Smokey Mary, and Rex’s Boeuf Gras. Celebrities, including Will Ferrell, reign over super-krewes as kings. Women wear the crown in Iris, Nyx, and Muses—known for its coveted shoe throws. The Mardi Gras Indians and the Baby Dolls show off a proud history in costume and dance. The Rolling Elvi and ’tit Rǝx are just some of a wild profusion of show-stopping sub-krewes. The exuberance and thrill of Carnival are on full display in these stunning photographs.
The world has waited decades for a new anti-hero in American fiction, a character who prophesizes the pettiness of American social life at the beginning of the twenty-first century. With Conrad Greyman, a social visionary arrives to illuminate the inequities and shallowness of our social lives now, as the Beats did for their generation.In a musty dorm room at an elite college in upstate New York sleeps Conrad Greyman. He sleeps all the time, in fact. Conrad is a casualty of postmodern malaise and bears hidden wounds he doesnt understand.Mardi Gras tells the fantastic story of Conrads spontaneous trip to the great Southern festival. He finds there, amid the infernal chaos of neon lights and Bourbon, a chance for unlikely redemption. Conrads journey through the mad streets of New Orleans becomes a modern hero-quest, and New Orleans an epic landscape. Conrads adventure is populated by holy fools who come to his aid, menacing frat boys, magical beads, and unadulterated American decadence. In the balance hangs the fate of an inward-looking soul trying to make his way through a fractured, carnivalistic world.
Beads are one of the great New Orleans symbols, as much a signifier of the city as a pot of scarlet crawfish or a jazzman’s trumpet. They are Louisiana’s version of the Hawaiian lei, strung around tourists’ and conventioneers’ necks to demonstrate enthusiasm for the city. The first in a new LSU Press series exploring facets of Louisiana’s iconic culture, Mardi Gras Beads delves into the history of this celebrated New Orleans artifact, explaining how Mardi Gras beads came to be in the first place and how they grew to have such an outsize presence in New Orleans celebrations. Beads are a big business based on valuelessness. Approximately 130 shipping containers, each filled with 40,000 pounds of Chinese-made beads and other baubles, arrive at New Orleans’s biggest Mardi Gras throw importer each Carnival season. Beads are an unnatural part of the natural landscape, persistently dangling from the trees along parade routes like Spanish moss. They clutter the doorknobs of the city, sway behind its rearview mirrors, test the load-bearing strength of its attic rafters, and clog its all-important rainwater removal system. Mardi Gras Beads traces the history of these parade trinkets from their origins before World War One through their ascent to the premier parade catchable by the Depression era. Veteran Mardi Gras reporter Doug MacCash explores the manufacture of Mardi Gras beads in places as far-flung as the Sudetenland, India, and Japan, and traces the shift away from glass beads to the modern, disposable plastic versions. Mardi Gras Beads concludes in the era of coronavirus, when parades (and therefore bead throwing) were temporarily suspended because of health concerns, and considers the future of biodegradable Mardi Gras beads in a city ever more threatened by the specter of climate change.
Following the disaster of Hurricane Katrina in New Orleans, people began to discuss and visualize the ways in which the urban structure of the city could be reorganized. Rather than defining the disaster recovery process as simply a matter of rebuilding the existing city, these voices called for a more radical rethinking of the city’s physical, social and environmental systems. This idea of disaster as an opportunity for urban restructuring is a hallmark of a "design moment." Design moments are different from the incremental process of urban growth and development. Instead of gradual growth and change, design moments present the opportunity for a significant restructuring of urban form that can shape the city for decades to come. As such, a design moment presents a critical juncture in the historical growth and development of a city. In this book we explore the question: what does urban design have to do with a disaster like Hurricane Katrina? Focused on New Orleans, the authors explore different dimensions of the post-disaster design moment, including the politics of physical redevelopment, the city’s history and identity, justice and the image of the city, demolition and housing development, and the environmental aspects of the recovery process. This book was published as a special issue of the Journal of Urban Design.
Dinosaurs parade down the streets of New Orleans during the Mardi Gras carnival. Includes glossary and related craft activity.
"The move from spectator to participant is a quantum leap. Yet each Mardi Gras in New Orleans, thousands of people make that leap, abandoning inhibition and reveling in the ever-growing creative phenomenon of marching krewes ... Simply put, a marching krewe is a group of like-minded people who get together for the purpose of marching in parades that take place during the Carnival (Mardi Gras) season. These krewes come in all shapes, sizes, and variations, yet they all share the attributes of creativity, artistry, quirkiness, humor, inclusiveness, and accessibility. Krewes are composed of people who practice dance moves, sew costumes, and create 'throws' to hand out to a covetous public"--Publisher marketing.
Pen and ink artist Joseph Arrigo, a native New Orleanian, has sketched the city's most charming landmarks. Each of his illustrations is accompanied by a description explaining its significance. Wander through the French Quarter, past Jackson Square and Pirate's Alley, through downtown New Orleans, past the Louisiana Superdome, and back to the mighty Mississippi River, and New Orleans's famous riverboats. Linger outside of some of New Orlean's favorite eating and meeting places: Caf� du Monde, Antoine's, Brennan's, and the Napoleon House. The French Quarter and Other New Orleans Scenes is sure to delight anyone wishing to hold on to fond memories of "the city that care forgot."
One of the first women's organizations to mask and perform during Mardi Gras, the Million Dollar Baby Dolls redefined the New Orleans carnival tradition. Tracing their origins from Storyville-era brothels and dance halls to their re-emergence in post-Katrina New Orleans, author Kim Marie Vaz uncovers the fascinating history of the "raddy-walking, shake-dancing, cigar-smoking, money-flinging" ladies who strutted their way into a predominantly male establishment. The Baby Dolls formed around 1912 as an organization of African American women who used their profits from working in New Orleans's red-light district to compete with other Black prostitutes on Mardi Gras. Part of this event involved the tradition of masking, in which carnival groups create a collective identity through costuming. Their baby doll costumes -- short satin dresses, stockings with garters, and bonnets -- set against a bold and provocative public behavior not only exploited stereotypes but also empowered and made visible an otherwise marginalized female demographic. Over time, different neighborhoods adopted the Baby Doll tradition, stirring the creative imagination of Black women and men across New Orleans, from the downtown Trem area to the uptown community of Mahalia Jackson. Vaz follows the Baby Doll phenomenon through one hundred years with photos, articles, and interviews and concludes with the birth of contemporary groups, emphasizing these organizations' crucial contribution to Louisiana's cultural history.
From the revelers on horseback in Eunice and Mamou to the miles-long New Orleans parade routes lined with eager spectators shouting “Throw me something, mister!,” no other Louisiana tradition celebrates the Pelican State’s cultural heritage quite like Mardi Gras. In Carnival in Louisiana, Brian J. Costello offers Mardi Gras fans an insider’s look at the customs associated with this popular holiday and travels across the state to explore each area’s festivities. Costello brings together the stories behind the tradition, gleaned from his research and personal involvement in Carnival. His fascinating tour of the season’s parades, balls, courirs, and other events held throughout Louisiana go beyond the well-known locales for Mardi Gras. Exploring the diverse cultural roots of state-wide celebrations, Costello includes festivities in Lafayette, Baton Rouge, New Roads, and Shreveport. From venerable floats to satirical parades, exclusive events to spontaneous street parties, Carnival in Louisiana is an indispensable guide for Mardi Gras attendees, both veteran Krewe members seeking to expand their horizons and first-time tourists hoping to experience of all sides of Louisiana’s favorite season.