In New Orleans, ‘Indian Red’ Is The Anthemic Sound Of Tradition

This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at NPR.org/Anthem.


For well more than a century, being in New Orleans for Carnival Day and other cultural events has meant at least two things: seeing groups of African-Americans parading in spectacular regalia inspired by Native American motifs, and hearing an anthemic song that brings them together in good times and bad. The first recording of “Indian Red,” sometimes called “My Indian Red,” dates back to the 1940s, but the song’s history goes far deeper.

“Indian Red” has as many variations as the Mardi Gras Indians themselves. Their tradition honors a friendship with Native Americans that some say dates back to slavery, when the two cultures are believed to have exchanged many kindnesses. After Reconstruction, the Mardi Gras Indian tradition became more representative of the African-Americans who take part each year: an expression of self-love and self-pride, with an emphasis on African religious and cultural origins.

Oliver Thomas, a former city councilman who now hosts a daily radio talk show in New Orleans, remembers following Mardi Gras Indian tribes as a child, each name as splendiferous as the next: The Yellow Pocahontas, the Ninth Ward Hunters, the Golden Eagles, Fi Yi Yi and many more.

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On ‘S.N.L.,’ Trump, Mueller and Barr Interpret the Final Report Very Differently

Alec Baldwin, Robert De Niro and Aidy Bryant as President Trump, Robert S. Mueller III and William P. Barr during the “S.N.L.” cold open.

While the rest of the nation waits to learn if it will ever get to read the final report of the special counsel Robert S. Mueller III, and debates whether a recent letter written by Attorney General William P. Barr provided an adequate overview of the two-year investigation and its results, “Saturday Night Live” is here to tell you what it all means.

In its opening sketch this weekend, Robert De Niro returned to “S.N.L.” in his recurring role as Mueller, composing his report, which, section by section, was then summarized by Barr (Aidy Bryant), which in turn was distilled into a tweet posted by President Trump.

Each performer offered an introduction at the start of the sketch. De Niro said, “Dear Attorney General Barr, officials from the Justice Department and esteemed members of Congress.”

 

Bryant said, “Hey, guys, William Barr here. You might want to sit down for this one.”

And Baldwin said, “Guess what? Guess what? Guess what? Daddy is about to freak.”

Mueller Report Cold Open – SNL Credit Video by Saturday Night Live

The sketch continued in this round-robin fashion, setting up exchanges like these:

De Niro: “I am submitting these 380 pages.”

Bryant: “I am writing almost four pages.”

Baldwin: “I am reading zero pages, but Sean Hannity has read it and he was so excited that he texted me an eggplant.”

De Niro: “On the charge of obstruction of justice, we have not drawn a definitive conclusion.”

Bryant: “But I have, and my conclusion is: Trump’s clean as a whistle.”

Baldwin: “Free at last, free at last.”

De Niro: “As for conspiracy or collusion, there were several questionable incidences involving the president’s team, but we cannot prove a criminal connection.”

Bryant: “No collusion, no diggity, no doubt.”

Baldwin: [blows an air horn]

De Niro: However, we have indicted 34 individuals in connection with this probe”

Bryant: “Most of them, very good people.”

Baldwin: “The pardons are already in the mail.”

De Niro: “In conclusion it is my hope that this report will be made public, with a few redactions.”

Bryant: “Hella redactions.”

Baldwin: “We’re going to black out everything except the words ‘no’ and ‘collusion.’”

“S.N.L.” returned to the subject of the Mueller report in another sketchlater in the evening, this time from the perspective of the Russian president Vladimir Putin (Beck Bennett) as he sheepishly acknowledges to his underlings at the Kremlin that Trump is not one of his agents.

Pleading his case to the North Korean leader Kim Jong-un (Bowen Yang, an “S.N.L.” staff writer) and an interpreter (played by guest host Sandra Oh), Bennett said, “We don’t know everything in the report yet. Plus, Mueller handed off a lot of stuff to the Southern District of New York. That’s where the real action is.”

Interpreting for Yang, Oh replied to him, “Glorious Leader says you sound like Rachel Maddow right now.”

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Agnès Varda, Influential French New Wave Filmmaker, Dies at 90 ~ NYT

Agnès Varda and the French photographer and muralist known as JR in a scene from their 2017 film, “Faces Places.” “I don’t do films pre-prepared by other people,’’ she said. “I don’t do star system. So I do my own little thing.”Credit Cohen Media Group

By John Anderson

Agnès Varda, a groundbreaking French filmmaker who was closely associated with the New Wave — although her reimagining of filmmaking conventions actually predated the work of Jean-Luc Godard, François Truffaut and others identified with that movement — died on Friday morning at her home in Paris. She was 90.

Her death, from breast cancer, was confirmed by a spokeswoman for her production company, Ciné-Tamaris.

In recent years, Ms. Varda had focused her directorial skills on nonfiction work that used her life and career as a foundation for philosophical ruminations and visual playfulness. “The Gleaners and I,” a 2000 documentary in which she used the themes of collecting, harvesting and recycling to reflect on her own work, is considered by some to be her masterpiece.

But it was not her last film to receive widespread acclaim. In 2017, at the age of 89, Ms. Varda partnered with the French photographer and muralist known as JR on “Faces Places,” a road movie that featured the two of them roaming rural France, meeting the locals, celebrating them with enormous portraits and forming their own fast friendship. Among its many honors was an Academy Award nomination for best documentary feature. (It did not win, but that year Ms. Varda was given an honorary Academy Award for lifetime achievement.)

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One of the world’s most influential filmmakers, Agnes Varda, has died at age 90. In 2017, she received an honorary Oscar.

how to live with failure | Kintsugi

 

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In Japan, when prized ceramics, especially those associated with chanoyu (the tea ceremony), were broken or damaged, they would be mended using lacquer that was often further embellished with gold or silver. Such repairs can have inherent artistic value, while imparting prestige to a vessel and its owner.

Mishima ware – A category of ceramics with inlay designs that were originally produced in Korea. “It is generally believed that it acquired the name Mishima from people involved in chanoyu in Japan, because the designs suggested the calendars produced by Mishima Shrine in Izu, Shizuoka Prefecture.” (Chanoyu Vocabulary. Practical Terms for the Way of Tea, p. 141)

 

Flat Dish

Mishima Karatsu

18th century

Quentin Tarantino’s ‘Once Upon a Time in Hollywood.’

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Brad Pitt and Leonardo DiCaprio in Once Upon A Time In Hollywood.

Once Upon a Time In Hollywood
Finally! We’ve got a teaser for Quentin Tarantino’s ninth film (for those of you keeping score at home), a star-studded affair set in the hazy, crazy days of Tinseltown ’69. Leonardo DiCaprio is Rick Dalton, star of the TV Western Bounty Law; Brad Pitt is his stunt double and drinking buddy Rick Booth. That’s more or less the extent of the narrative info you get in this first look at what promises to be a cinematic gas — really, who needs plot details when you have a Bruce Lee fight, Margot Robbie’s Sharon Tate jumping through the air, hippies, Playboy bunnies, a quick peek at Charles Manson and a lot of go-go dancing? In a word: Groovy. It hits theaters July 26th.

 

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Once Upon A Time In Hollywood