Brass bands in other parts of the United States; the "mythical" Congo Square; the role of formal musical education in the development early jazz artists- Buddy Bolden; brass bands around the world; jazz funerals, 2nd lines, benevolent societies and their roles in solidifying the place of people of color in the city- the taking of it; why brass bands in New Orleans have outlived the traditions in other cities; political needs for brass bands; more on cultural mentorship, cultural capital, social capital; the relation of brass band music to other musics in the city; Wynton and Branford Marsalis, Nicholas Payton- their start associated with the brass band tradition; being able to speak collectively; Trombone Shorty; the difficulties of talking to music press and their false ideas of what audiences will find interesting; the maligning or ignoring of intellectual sides to musicians in the press; coming out of depression after Katrina; the way that Brice's identity was used and became a caricature after the storm; going to the University of Alabama; telling the story of real New Orleans music, and the 200 year history of brass bands, honestly; the indignity of the reduction of all narratives of people of color to slavery; the influence of personal understanding of history on personal identity development; final comments- retelling your own stories.
Part 2-Mentorship in the brass band community; Milton Batiste; Eureka brass band; waning of the early brass band interest; resurgence in interest by inserting more contemporary sounds; Tuba Fats; Danny Barker; Second line; The Dirty Dozen Brass Band; participatory music; The Rebirth Brass Band; Role of marching bands in the development of brass bands; Junior Pinstripe brass band; brass band repertoire evolution; mentorship in the current generation; cultural history, heritage, racial history, and the legacies and stories carried in brass band music; working as Jazz Studies coordinator; the transfer of misinformation by outsider commentary on the music; TBC; drug dependency in the community; Ecirb Müller Jassum Band and why Brice has decided to use this form of communication now; storytelling; should Art be entertainment?; Louis Armstrong
Part 3- Changes in the current New Orleans music scene that are caused by economic changes; rehearsals instead of pick-up bands; trad and revisiting Aurora Nealand's (see her interview) discussion of gender role solidification; heated debating over the preceding issues; music becoming populist and away from the seperatism of bebop- more heated debate!; "in 2012 to be populist is to be subversive!"; the central features of the expression of the Trombone Shorty band; egalitarianism in New Orleans brass band music; what Dan is working on now; Chazfest and the continuance of post-katrina community survival mechanisms; the constant influx of creative people to the city; search and restore.