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While the corruption-and-reform message that would dominate post-Katrina rebuilding was being crafted in the arena of national politics—delivered through the combined strategies of federal inaction and rabid crime enforcement—the tourism industry in New Orleans emerged as the second gatekeeper of post-Katrina message delivery, energized by a void of local political leadership.

This is the 5th and final part of Roger Hahn's "New Orleans Culture at a Tipping Point." Part 4 is on the home page. You can find Parts 1-3 elsewhere here by searching the site—ed.

Much has happened in the analog world since I reviewed SME's flagship Model 30/2 turntable for the March 2003 Stereophile (footnote 1). Back then, spending $25,000 on a turntable (without tonearm) was an odd extravagance intended only for those seriously committed to the format, and who already owned large LP collections. Although new LPs were being pressed in growing numbers, the resurgence of vinyl was still spotty, and the long-term prognosis for the old medium remained in question.

Part II:Building Gold Star Studios, Phil Spector and Alvin & The Chipmunks Come to Play:

FREMER: Where did you get all this (recording)stuff?

ROSS: We bought the parts. There were no recording consoles available. We had a broadcast console that was available to us. It was a stereo console because one channel was for cuing and the right was for the air. It was gorgeous. A guy had this wonderful board with the colored knobs and [it was] just what we wanted. And so we got it for a good price and I said, ah, we got the console.

FREMER: So you had to make an investment. So you had to have savings? You borrowed?

ROSS: We borrowed the difference, whatever. Hey, I wasn’t a GI so I had a problem. Anyway, we found out that this console was hot. [LAUGHTER]