Speaker: Standard English
Danny Barker: New Orleans/ New York accent
Kalamu Ya Salaam: Standard American
Philip Frazier: Black American
Bruce Raeburn: Standard American
♫ Music: “Do Watcha Wanna” by The Rebirth Bras Band.
BL. 1. What makes American places famous? What memories and associations do they bring? What are the merits and demerits that go together with their names? Match the American place names in A with the corresponding curiosities in B:
| A | B |
| Las Vegas | Al Capone; first skyscraper. |
| Chicago | Entertainment; casino. |
| Washington | French style city; the White House |
| New York | Hollywood movie stars; fast cars. |
| California, LA | Statue of Liberty; The City That Never Sleeps; The Big Apple. |
BL. 2. Look at the cultural clues below. Are they true for New Orleans?
| -soulful saxophones; -swinging clarinets; -entertaining city; -permissive society; | -birth of jazz; -spiritual yet sensual sound; -southern blacks; -sex and death |
BL. 3. This list of proper names (given in the order of appearance on the tape) will render you good service:
| David Duke Nazi Ku Klux Klan Mississippi Jelly Roll Morton Buddy Bolden Louis Armstrong Dixieland Louisiana | Mardi Gras Rio Danny Baker French Quarter Armstrong Park Nick La Rocca Park New Orleans Rhythm Kings Nashville Wynton Marsa |
| Rebirth Brass band Philip Frazier Royal Sonesta Hotel Bourbon Street | St. Patrick’s Day St. Joseph’s Day Grade Seven hurricane Storyville District |
L. 1. Listen to the story New Orleans. Go back to BL. 2. Provide some evidence for New Orleans’ cultural clues.
MODEL: 1.Music is still everywhere - soulful saxophones, swinging clarinets and Dixieland pianos play round the clock in the bars and cafes and on street corners.
2. No wonder______________________________________________ _ __________________________________________entertaining places _______________ ____________________________________________________________ _______________________________________________ of sheer revelry.
3. Why jazz developed_______________________________________ ___________________________________________________________, but the permissiveness of its society ____________________________ helped.
4. … in New Orleans’ large black community. It __________________________________________________that jazz music was born.
5. This juxtaposition of the spiritual and the sensual is _______________________________________________________________________________________________________________________________________________________________________, is sublimely sinful.
L. 2. Look at the list below. These are the markers of jazz community’s life. Explain what they mean (according to the story):
legends; saxophones; clarinets; Dixieland pianos; banjos; jazz fraternity; traditional jazz; brass band; a son of New Orleans; sub-teens; sophisticated jadedness; housing project; rougher neighbourhoods; fascinating ritual; the dualism of deterioration; crack epidemic; the visceral sensibilities; Afrocentric world; lip service.
L. 3. Think over the following. Pick up the answers, which fit best:
- Jazz and New Orleans are …..
A. synonymous;
B. incompatible.
- This is a lively city at the mouth of the …..
A. Missouri;
B. Mississippi.
- The etymology of the word ‘jazz’ comes from ……
A. an African tribal language;
B. originally a New Orleans slang term for ‘sex’.
- Jazz, in the musical sense of the word, plays a major role in the New Orleans economy, because band are employed …….
A. to lure customers to the bars and restaurants of the French Quarter;
B. to entice tourists to New Orleans.
- The city authorities do not present jazz like they should, because …..
A. it’s black music and some people in the power structure a sort of restrict how far you go with this;
B. they can allow very little financial support to the jazz fraternity.
- The band can easily be mistaken for a street gang as …….
A. they often play in their baseball caps, T-shirts and coloured scarves;
B. they are on crack;
C. they all live in a housing project.
-The population of New Orleans has always lived very close to death for that reason because …….
A. plaques, hurricanes, tornadoes, natural disasters go hand-in-hand with the history of New Orleans;
B. a lot of people who were in the field of jazz have passed away; a lot of youthful people at the time was getting killed over drugs.
R. 1. Here is the patchwork of popular perceptions about New Orleans and its inhabitants. Do you support the ideas?
1. Speak Up speaker:
“These are relatively good times for jazz musicians… Interest in traditional jazz has mushroomed and many contemporary performers have reaped the rewards.”
2. Speak Up speaker:
“Jazz is alive and well in new Orleans”.
Kalamu Ya Salaam, writer and head of Bright Moments, a music & P.R. company:
“No, I would say, it’s alive and kicking.”
3. Speak Up speaker:
“For all New Orleans’ jollity, death is a recurrent theme. The city is one of the poorest and most violent in America.”
4. Bruce Raeburn, curator of the Tulane University Jazz Archive:
“It’s an old world city…”
“This sort of celebration of life, I think, is our way of dealing with the omnipresence of death and the potential for disaster at all time, which keeps changing. It is used to be natural, now it’s more social…”
“Most of us would probably prefer a Grade Seven hurricane to walking through one of these projects while a crack deal’s down, but the danger is part of allure, I think.”
“… what you might call the visceral sensibilities of New Orleans are always well-fed: it’s a bodily city, if you like, and yet there’s a spiritual aura, too.”
5. Kalamu Ya Salaam, writer and head of Bright Moments, a music & P.R. company:
“… that’s always been an element of what we do as a people, that the separation of the sacred and the secular is an artificial separation and most of our people, subconsciously and unconsciously, do not relate to that artificial separation.... because religion, the spiritual side of things… goes throughout everything, and, vice versa, the celebration of the physical goes throughout everything also. So it’s one or the other, I mean, jazz would not be jazz if it was one or the other and what makes the music so vital is it’s all of it. It’s all there.”
R. 2. Study the vocabulary notes below:
| soulful – | sentimental; |
| round the clock - | all hours; |
| sheer revelry - | pure festivities; |
| to entice - | to tempt; |
| to mushroom - | to spread quickly; |
| to reap - | to harvest; |
| alive and well - | flourishing; |
| alive and kicking – | in the prime of life; |
| jadedness - | the state of being exhausted; |
| housing project - | housing at moderate price; |
| rough neighborhood - | slums; |
| crack deal - | a deal involving drugs sales; |
| allure – | fascination; |
| sinful - | scandalous; |
| brothel – | a house of prostitution; |
| gospel - | a type of ardently religious jazz music, esp. songs, originating amongst the black population of the southern U.S.; |
| lip service - | insincere praise or worship; |
| lyric – | a verse; couplet |
R. 3. Make up another list of additional vocabulary to cover the story about New Orleans. Prepare a report (10 min). Dwell upon the points:
- All That Jazz.
- The Musical Renaissance.
- Death in New Orleans.
LANGUAGE CORNER
BLACK AMERICAN/ BLACK ENGLISH
In linguistic usage Black English refers to the entire range of varieties of English spoken by American Black people of any educational or social level. The reference to the nonstandard varieties of English spoken by lower-class black people in urban communities is made by African-American Vernacular English (AAVE), Black English Vernacular (BEV), Afro-American English, Black English and a variety of other labels with varying degrees of acceptability. Among its distinctive features are the lack of a final –s in the 3rd person singular present tense (e.g. she walk), no use of forms of be when used as a linking verb (e.g. They real fine), and the use of be to mark habitual meaning (e.g. Sometime they be walking round here). The linguistic origins of AAVE are controversial. According to one view, AAVE originates in the creole English used by the first blacks in America, now much influenced by contact with standard English. An alternative view argues that AAVE features can also be found in white dialects (esp. those in the south), suggesting an origin in white English. The variety then became distinctive when blacks moved north to the cities, and found their southern features perceived as a marker of ethnic identity.
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