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Melissa A. Weber CURATOR, HOGAN JAZZ ARCHIVE, TULANE UNIVERSITY HOWARD-TILTON MEMORIAL LIBRARY & DJ SOUL SISTER What are you most looking forward to in your role as the new curator of Tulane’s prestigious Hogan Jazz Archive? Aside from the obvious part for me, which is getting to work with materials pertaining to New Orleans music, musicians and culture, I am so excited about being a part of the library’s efforts in improving access and discoverability around the archive’s collections. That’s always been a personal mission of mine, helping to make information available to all. I suppose I inherited this love of sharing information from my mother, a retired New Orleans public school teacher. And then once materials are processed and discoverable, devising programming plans around the collections is something that I really look forward to doing more of. The power in archives and special collections is not simply the materials that are contained in them and preserved for future use, but in the ways that they can inform the work and knowledge of users, whether they may be academic researchers or community members seeking information. Access and outreach are two main components that work toward that goal. The archive covers more than just jazz history. How important is it to include other music genres in the collection? What are some of your favorite items in the archive? Of course. The innovations of New Orleans provide the basis of all popular, contemporary music. During a recent visit to Washington, D.C., a man said to me, “So you’re from New Orleans? That’s where all the music comes from!” I’m glad that people know this fact, and I want to make it more known, including to our students here at Tulane who may not realize this. The Hogan Jazz Archive’s collections are strong in traditional jazz, which provides an integral foundation for the basis of what we call New Orleans music. There is also incredible work around New Orleans gospel being done here by my colleague Lynn Abbott. I’m interested in increasing resources related to contemporary jazz and brass bands, pioneering rhythm and blues and funk artists, even our local bounce rap artists. All of the genres are not only important, but are related. Making sure they’re represented will help future re- searchers learn and possibly tell diverse stories of our music and our city, which have always influenced everyone and everywhere else. My favorite items that are currently in the archive are all of the collections, both processed and unprocessed, because I’m getting to know them. The most popular favorite would be the oral history collections, but there are more materials yet to be made discoverable. As DJ Soul Sister, funk is your calling card. Do you think your work with the archive will influence your DJ sets? PHOTO BY PAULA BURCH-CELENTANO I wouldn’t necessarily say that funk is my calling card, though it’s a primary love of mine. It was my first love, and from that I wanted to learn the story of music in general. This is why the field of musicology is so interesting to me, and why I’m blessed to be a native of New Orleans, which is not only the birthplace of jazz but the home of all music. As far as my Soul Sister sets, which go back to the mid-1990s when I started 38  PRESERVATION IN PRINT • NOVEMBER 2019