Mandeville is a small city in St. Tammany Parish, United States; the population was 11,560 at the 2010 census. Mandeville is located on the North Shore of Lake Pontchartrain, south of Interstate 12, it is across the lake from the city of its southshore suburbs. It is part of the New Orleans–Metairie–Kenner metropolitan area. Mandeville is the name of two villages in France, it means "big farm" in medieval Norman French. The area had long been agricultural land when the town of Mandeville was laid out in 1834 by developer Bernard Xavier de Marigny de Mandeville, more known as Bernard de Marigny. In 1840 Mandeville was incorporated as a town, it became a popular summer destination for well-to-do New Orleanians wishing to escape the city's heat. In the mid-19th century, regular daily steamboat traffic between New Orleans and Mandeville began, by the end of the Victorian era, it had become a popular weekend destination of the New Orleans middle class as well. Bands would play music on the ships going across the lake and at pavilions and dance halls in Mandeville, the town became one of the first places where the new "jazz" music was heard outside of New Orleans.
Bunk Johnson, Buddy Petit, Papa Celestin, George Lewis, Kid Ory, Edmond Hall, Chester Zardis, many other early jazz artists played in Mandeville. In the late 19th century, Mandeville was home of the Harvey School, a college preparatory institution. Among those educated there was Andrew Querbes of New Orleans and the mayor of Shreveport. Two buildings from early jazz history still stand in Mandeville. Ruby's Roadhouse has been in continuous operation since the 1920s and is still a popular bar and live music venue today; the Dew Drop Social and Benevolent Hall, listed on the National Register of Historic Places, opened in January 1895. For years the Hall hosted some of the jazz greats and was reopened in 2000 as the Dew Drop Jazz & Social Hall, a live jazz venue. In 1956, the first span of the Lake Pontchartrain Causeway opened to automobile traffic. A second span was added in 1969; the new road spurred the growth of Mandeville and the surrounding area as a suburban commuter community for people working in New Orleans.
This trend increased in the 1980s and 1990s, further integrating Mandeville into the Greater New Orleans metropolitan area. Mandeville is home to a mental health facility. Louisiana governor Earl Long was committed here in 1959 amidst much controversy. In July 2012, the Louisiana State Department of Health announced the closure of the hospital, citing reduced federal money from Medicaid. Mandeville is home to the largest certified southern live oak tree, the Seven Sisters Oak. Mandeville was affected by Hurricane Katrina's storm surge in August 2005 and received water and wind damage. Parts of the city experienced less dramatic flooding when Lake Pontchartrain overflowed its banks due to Hurricane Ike in 2008. By 2009, most of the reconstruction from Katrina was completed. Many homes and businesses in areas that experienced flooding have been elevated. Mandeville was named one of the Relocate America Top 100 Places to Live in 2004, 2005, 2007, 2008, 2009. Mandeville was among the recipients of Google's eCity award in 2013, given to those cities whose small businesses most employ the internet to attract customers.
Mandeville is the hometown of Cajun fiddler and bandleader Amanda Shaw, the rock group 12 Stones, YouTube personality TJ Kirk, the progressive rock band As Cities Burn, comedian Theo Von, Wilco bassist John Stirratt, actor and environmentalist Ian Somerhalder. Actress Allison Scagliotti grew up in Mandeville. Willem McCormick lived here for a few years while writing music before moving to Los Angeles, as did former US soccer national team player Jason Kreis before entering MLS. Sirius XM's The Mike Church Show is broadcast from a studio in Mandeville five days per week by Mike Church, a native of the city. Singer/songwriter Lucinda Williams spent time in Mandeville as a child and noted the town in her song "Crescent City", covered by others including Emmylou Harris. Former WWE wrestler, Brodus Clay has lived in the city of Mandeville since 2010. Mandeville has an active political scene, Eddie Price having been elected mayor for several terms commencing in 1996, he stepped down as mayor on October 9, 2009, subsequently pleaded guilty to charges including tax evasion and depriving citizens of honest services through mail fraud.
The city council selected Edward "Bubby" Lyons as interim mayor. White nationalist and white supremacist David Duke has a residence in Mandeville, is a perennial candidate, his most notable electoral outcomes are his almost-wins for Senate in 1990 and Governor of Louisiana in 1991. The late Governor David C. Treen spent his years in Mandeville; the District 89 state representative is Republican Reid Falconer of Mandeville, who has served in the position since 2016. A second Mandeville Republican, Paul Hollis, holds the District 104 seat in the state House effective January 9, 2012. Arthur A. Morrell, a former state representative for District 97 in New Orleans and the current clerk of the Ouachita Parish Criminal Court lived in Mandeville. Former New Orleans Saints offensive lineman Jim Dombrowski lives in Mandeville. Former Saints wide receiver Rich Mauti lives in Mandeville, his son, Saints linebacker Michael Mauti, is from Mandeville. Trombonist Mark Mullins lives in Mandeville. Recent mayors include Republicans Paul Spi
James Fletcher Hamilton Henderson Jr. was an American pianist, bandleader and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musical arrangers and, along with Duke Ellington, is considered one of the most influential arrangers and bandleaders in jazz history. Henderson's influence was vast, he helped bridge the gap between the swing eras. He was known as "Smack" Henderson. James Fletcher Henderson was born in Cuthbert, Georgia, in 1897, he grew up in a middle-class African-American family. His father, Fletcher H. Henderson Sr. was the principal of the nearby Howard Normal Randolph School from 1880 until 1942. His home, now known as the Fletcher Henderson House, is a historic site, his mother, a teacher, taught him and his brother Horace to play the piano. He began lessons by the age of six, his father would lock Fletcher in his room to practice for hours. By age 13, Henderson possessed a keen ability to read sense pitch, he further engaged himself in lessons on European art.
Although a talented musician, Henderson decided to dedicate himself to science. At age 18 he moved to Atlanta and changed his name to Fletcher Henderson, giving up James, his grandfather's name, he attended Atlanta University and graduated in 1920 with a bachelor's degree in chemistry and mathematics. After graduation, he moved to New York City with the intention of attending Columbia University for a master's degree in chemistry, but no evidence proves he enrolled, he did get a part-time job as a lab assistant in a downtown Manhattan chemistry firm, but this only lasted a year. In New York City, Henderson shared an apartment with a pianist who worked as a musician in a river boat orchestra; when his roommate was too sick to perform, Henderson took his place, which soon gave him a job as a full-time replacement. In the fall of 1920 he found work as a song demonstrator with the Pace and Handy Music Co. Henderson now found that music would be more profitable than chemistry and left his job as a lab chemist to begin a life in music.
When Pace left the company to start Black Swan Records, he took Henderson with him to be musical director, a job which lasted from 1921-1923. From 1920-1923, he played piano accompaniment for blues singers. Henderson toured with the Black Swan Troubadours featuring Ethel Waters from October 1921 to July 1922, his activities up to the end of 1923 were recording dates for Black Swan and other labels. His band at this point was only a pick-up unit for recordings, not a regular working band. In January 1924 the recording band became the house band at the Club Alabam at 216 w. 44th st. Despite many erroneous publications otherwise, this 1924 band was Henderson's first working band. In July 1924 the band began a brief engagement at the Roseland Ballroom. Although only meant to stay for a few months, the band was brought back for the Autumn season. Henderson called on the 23 year old cornetist Louis Armstrong. On October 13, 1924 history was made when the Henderson band began their re-engagement at Roseland with Louis Armstrong now in the orchestra.
The band became known as the best African-American band in New York. By late 1924 the arrangements by Don Redman were featuring more solo work. Although Armstrong played in the band for only a year, his influence on all the Henderson band and all jazz during this time cannot be overstated. Henderson's band boasted the formidable arranging talents of Don Redman. After Redman's departure from the band in 1927, Henderson took on some of the arranging, but Benny Carter was Redman's replacement as saxophone player and arranger from 1930–31, Henderson bought scores from freelance musicians. Henderson developed his arranging skills from 1931 to the mid-1930's, his band c. 1925 included Howard Scott, Coleman Hawkins, Louis Armstrong, Charlie Dixon, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, Ralph Escudero, Don Redman. In 1925, with Henry Troy, he wrote "Gin House Blues", recorded by Bessie Smith and Nina Simone among others, his other compositions include "Soft Winds". Henderson recorded extensively in the 1920's for nearly every label, including Vocalion, Columbia, Ajax, Pathé, Edison, Emerson and the dime-store labels Banner, Regal and Romeo.
From 1925–1930, he recorded for Columbia and Brunswick/ Vocalion under his own name and a series of acoustic recordings as the Dixie Stompers for Harmony Records and associated dime-store labels. During the 1930's, he recorded for Columbia, Crown, ARC, as well as Victor, Decca. Starting in the early 1920's, he recorded popular hits and jazz tunes. In 1924 he and his band recorded 80 sides, his version of the pop tune "I Can't Get the One I Want", recorded about June 19, 1924, was issued on at least 23 labels. In addition to Armstrong, lead trumpeters included Henry "Red" Allen, Joe Smith, Rex Stewart, Tommy Ladnier, Doc Cheatham and Roy Eldridge. Lead saxophonists included Buster Bailey, Benny Carter and Chu Berry. Sun Ra worked as an arranger during the 1940's, during Henderson's engagement at the Club DeLisa in Chicago. Sun Ra said that on first hearing Henderson's orchestra as a teenager he assumed that th
Union Stock Yards
The Union Stock Yard & Transit Co. or The Yards, was the meatpacking district in Chicago for more than a century, starting in 1865. The district was operated by a group of railroad companies that acquired marshland and turned it into a centralized processing area. By the 1890s, the railroad money behind the Union Stockyards was Vanderbilt money; the Union Stockyards operated in the New City community area for 106 years, helping Chicago become known as "hog butcher for the world" and the center of the American meatpacking industry for decades. The stockyards became the focal point of the rise of some of the earliest international companies; these companies influenced financial markets. Both the rise and fall of the district owe their fortunes to the evolution of transportation services and technology in America; the stockyards have become an integral part of the popular culture of Chicago's history. From the Civil War until the 1920s and peaking in 1924, more meat was processed in Chicago than in any other place in the world.
Construction began in June 1865 with an opening on Christmas Day in 1865. The Yards closed at midnight on Friday, July 30, 1971, after several decades of decline during the decentralization of the meatpacking industry; the Union Stock Yard Gate was designated a Chicago Landmark on February 24, 1972, a National Historic Landmark on May 29, 1981. Before construction of the various private stockyards, tavern owners provided pastures and care for cattle herds waiting to be sold. With the spreading service of railroads, several small stockyards were created in and around the city of Chicago. In 1848, a stockyard called; the Bulls Head Stock Yards were located at Ogden Avenue. In the years that followed, several small stockyards were scattered throughout the city. Between 1852 and 1865, five railroads were constructed to Chicago; the stockyards that sprang up were built along various rail lines of these new railroad companies. Some railroads built their own stockyards in Chicago; the Illinois Central and the Michigan Central railroads combined to build the largest set of pens on the lake shore east of Cottage Grove Avenue from 29th Street to 35th Street.
In 1878, the New York Central Railroad managed to buy a controlling interest in the Michigan Central Railroad. In this way, Cornelius Vanderbilt, owner of the New York Central Railroad, got his start in the stockyard business in Chicago. Several factors contributed to consolidation of the Chicago stockyards: westward expansion of railroads between 1850 and 1870, which drove great commercial growth in Chicago as a major railroad center, the Mississippi River blockade during the Civil War that closed all north-south river trade; the United States government purchased a great deal of beef and pork to feed the Union troops fighting the Civil War. As a consequence, hog receipts at the Chicago stockyards rose from 392,000 hogs in 1860 to 1,410,000 hogs over the winter butchering season of 1864-1865. With an influx of butchers and small meat packing concerns, the number of businesses increased to process the flood of livestock being shipped to the Chicago stockyards; the goal was to butcher and process the livestock locally rather than transferring it to other northern cities for butchering and processing.
Keeping up with the huge number of animals arriving each day proved impossible until a new wave of consolidation and modernization altered the meatpacking business in the post-Civil War era. The Union Stock Yards, designed to consolidate operations, was built in 1864 on marshland south of the city, it was south and west of the earlier stock yards in an area bounded by Halsted Street on the east, South Racine Avenue on the west, with 39th Street as the northern boundary and 47th Street as the southern boundary. Led by the Alton, Chicago & St. Louis Railroad and the Lake Shore and Michigan Southern Railway, a consortium of nine railroad companies acquired the 320-acre marshland area in southwest Chicago for $100,000 in 1864; the stockyards were connected to the city's main rail lines by 15 miles of track. In 1864, the Union Stock Yards were located just outside the southern boundary of the city of Chicago. Within five years, the area was incorporated into the city; the 375-acre site had 2300 separate livestock pens, room to accommodate 75,000 hogs, 21,000 cattle and 22,000 sheep at any one time.
Additionally, saloons and offices for merchants and brokers sprang up in the growing community around the stockyards. Led by Timothy Blackstone, a founder and the first president of the Union Stock Yards and Transit Company, "The Yards" experienced tremendous growth. Processing two million animals yearly by 1870, in two decades the number rose to nine million by 1890. Between 1865 and 1900 400 million livestock were butchered within the confines of the Yards. By the start of the 20th century, the stockyards employed 25,000 people and produced 82 percent of the domestic meat consumed nationally. In 1921, the stockyards employed 40,000 people. Two thousand men worked directly for the Union Stock Yard & Transit Co. and the rest worked for companies such as meatpackers, which had plants in the stockyards. By 1900, the 475-acre stockyard contained 50 miles of road, had 130 miles of track along its perimeter. At its largest area, The Yards covered nearly 1 square mile of land, from Halsted Street to Ashland Avenue and from 39th to 47th Streets.
At one time, 500,000 US gallons a day of Chicago River water were pumped into the stockyar
Système universitaire de documentation
The système universitaire de documentation or SUDOC is a system used by the libraries of French universities and higher education establishments to identify and manage the documents in their possession. The catalog, which contains more than 10 million references, allows students and researcher to search for bibliographical and location information in over 3,400 documentation centers, it is maintained by the Bibliographic Agency for Higher Education. Official website
Staten Island is one of the five boroughs of New York City, in the U. S. state of New York. Located in the southwest portion of the city, the borough is separated from New Jersey by the Arthur Kill and the Kill Van Kull and from the rest of New York by New York Bay. With an estimated population of 479,458 in 2017, Staten Island is the least populated of the boroughs but is the third-largest in land area at 58.5 sq mi. The borough contains the southern-most point in the state, South Point; the borough is coextensive with Richmond County and until 1975 was referred to as the Borough of Richmond. Staten Island has sometimes been called "the forgotten borough" by inhabitants who feel neglected by the city government; the North Shore—especially the neighborhoods of St. George, Tompkinsville and Stapleton—is the most urban part of the island; the East Shore is home to the 2.5-mile F. D. R. Boardwalk, the fourth-longest boardwalk in the world; the South Shore, site of the 17th-century Dutch and French Huguenot settlement, developed beginning in the 1960s and 1970s and is now suburban in character.
The West Shore is the most industrial part of the island. Motor traffic can reach the borough from Brooklyn via the Verrazzano-Narrows Bridge and from New Jersey via the Outerbridge Crossing, Goethals Bridge and Bayonne Bridge. Staten Island has Metropolitan Transportation Authority bus lines and an MTA rapid transit line, the Staten Island Railway, which runs from the ferry terminal at St. George to Tottenville. Staten Island is the only borough, not connected to the New York City Subway system; the free Staten Island Ferry connects the borough across New York Harbor to Manhattan and is a popular tourist attraction, providing views of the Statue of Liberty, Ellis Island and Lower Manhattan. Staten Island had the Fresh Kills Landfill, the world's largest landfill before closing in 2001, although it was temporarily reopened that year to receive debris from the September 11 attacks; the landfill is being redeveloped as an area devoted to restoring habitat. As in much of North America, human habitation appeared in the island rapidly after the Wisconsin glaciation.
Archaeologists have recovered tool evidence of Clovis culture activity dating from about 14,000 years ago. This evidence was first discovered in 1917 in the Charleston section of the island. Various Clovis artifacts have been discovered since on property owned by Mobil Oil; the island was abandoned possibly because of the extirpation of large mammals on the island. Evidence of the first permanent Native American settlements and agriculture are thought to date from about 5,000 years ago, although early archaic habitation evidence has been found in multiple locations on the island. Rossville points are distinct arrowheads that define a Native American cultural period that runs from the Archaic period to the Early Woodland period, dating from about 1500 to 100 BC, they are named for the Rossville section of Staten Island, where they were first found near the old Rossville Post Office building. At the time of European contact, the island was inhabited by the Raritan band of the Unami division of the Lenape.
In Lenape, one of the Algonquian languages, Staten Island was called Aquehonga Manacknong, meaning "as far as the place of the bad woods", or Eghquhous, meaning "the bad woods". The area was part of the Lenape homeland known as Lenapehoking; the Lenape were called the "Delaware" by the English colonists because they inhabited both shores of what the English named the Delaware River. The island was laced with Native American foot trails, one of which followed the south side of the ridge near the course of present-day Richmond Road and Amboy Road; the Lenape moved seasonally, using slash and burn agriculture. Shellfish was a staple of their diet, including the Eastern oyster abundant in the waterways throughout the present-day New York City region. Evidence of their habitation can still be seen in shell middens along the shore in the Tottenville section, where oyster shells larger than 12 inches are sometimes found. Burial Ridge, a Lenape burial ground on a bluff overlooking Raritan Bay in Tottenville, is the largest pre-European burial ground in New York City.
Bodies have been reported unearthed at Burial Ridge from 1858 onward. After conducting independent research, which included unearthing bodies interred at the site and archaeologist George H. Pepper was contracted in 1895 to conduct paid archaeological research at Burial Ridge by the American Museum of Natural History; the burial ground today lies within Conference House Park. The first recorded European contact on the island was in 1520 by Italian explorer Giovanni de Verrazzano who sailed through The Narrows on the ship La Dauphine and anchored for one night. In 1609, English explorer Henry Hudson sailed into Upper New York Bay on his ship the Half Moon; the Dutch named the island Staaten Eylandt in honor of the Dutch parliament, still known as the Staten-Generaal. The first permanent Dutch settlement of the New Netherland colony was made on Governor's Island in 1624, which they had used as a trading camp for more than a decade before. In 1626, the colony transferred to the island of Manhattan, designated as the capital of New Netherland.
The Dutch did not establish a permanent settlement on Staaten Eylandt for many decades. From 1639 to 1655, Cornelis Melyn
Hugues Panassié was an influential French critic, record producer, impresario of traditional jazz. Panassié was born in Paris; when he was fourteen, he was stricken with polio, which limited his extracurricular physical activities. He fell in love with jazz in the late 1920s. Panassié was the founding president of the Hot Club de France. During World War II, the Germans occupied the northern half of France beginning June 1940; the Nazis regarded jazz as low music — music from an inferior people. Jacques Demetre, in the 2014 book by Steve Cushing, Pioneers of the Blues Revival, said that people had expected the Germans to ban jazz entirely, but instead, they only banned American tunes. Demetre explained. Panassié, for example, managed to keep broadcasting American jazz on his radio station submitting to censors obtuse French translations American song titles, relabeling records. Panassié's friend, Mezz Mezzrow, describes a particular example in his 1946 autobiography Really the Blues: " were shown a record labeled "La Tristesse de Saint Louis," which translates the "Sadness of Saint Louis," and Panassié offered the explanation that it was a sad song written about poor Louis the Ninth, lousy with that old French tradition.
What Cerberus didn't know was that underneath the phony label was a genuine RCA Victor one giving Louis Armstrong as the recording artist and stating the real name of the number: "The Saint Louis Blues."Panassié produced several jazz records by artists that include Sidney Bechet and Tommy Ladnier. In a changing world of jazz, Panassié was an ardent exponent of traditional jazz — Dixieland, he harbored a particular love of style similar to that of Louis Armstrong from the 1930s. Panassié criticized West Coast jazz as inauthentic because most musicians were white and sounded white. In his book, The Real Jazz, Panassié ranked Benny Goodman as a detestable clarinetist whose sterile intonation was inferior to black players Jimmy Noone and Omer Simeon. Mezz Mezzrow became Panassié's lone example of a white musician. Panassié famously dismissed bebop as "a form of music distinct from jazz." In 1974, he accused Miles Davis, Archie Shepp, Pharoah Sanders, other progressives as being "traitors to the cause of true black music," that, according to Panassié, they claimed to support.
Some historians opine that Panassié hurt musicians by creating a wedge between blacks and whites by his insistence that black jazz was superior. Some authors ridicule his harsh attacks against progressive jazz critics, who he characterized in his Bulletin du Hot Club de France as being full of "crass ignorance," "thick incompetence," and "triumphant stupidity." His ad hominem attacks included phrases that translate to "repugnant glavioteur," "formidable imbecile," and "donkey of the pen." In addition to being a strong exponent of Dixieland jazz, a harsh critic of jazz musicians who strayed from it, Panassié was an arch-conservative — a staunch monarchist, to the far right of the right. And, he contributed articles to Action Française. In 1956, RCA Victor published an LP record, Guide to Jazz, a compilation including 16 recordings by prominent jazz artists with liner notes by Panassiè. Books by Panassié Le Jazz Hot. S. Barnes. S. Barnes. Jazz Book Club. A. Gurwitch Beginning with 1956 English versions, intro by intro by Louis Armstrong Panassié spent five months in New York City in the company of Madeleine Gautier, his assistant.
In 1949, they married, returned to France, settled in Montauban at 65 Faubourg du Moustier. Inline citations from Bulletin du Hot Club de France.