update pages

Author: afbase

content/blog/2024-07-19-welcome.md

@@ -35,7 +35,7 @@ The importance of studying slave codes extends far beyond historical curiosity.
 
 2. **Policing and Incarceration**: Slave codes often empowered all white people to police the movements and gatherings of enslaved individuals. For instance, Act 13 of the [1724 Code Noir of Louisiana](/codes/1724-louisiana-code-noir/slave-code/) allowed any white person to arrest enslaved people gathered in groups. In the United States, these de jure laws evolved into Jim Crow laws; and <a href="#" class="tooltip-wrapper" data-bs-toggle="tooltip" data-bs-title="lynch mobs happened.">policing social psychology</a> continues today influencing modern policing and incarceration practices that disproportionately affect Black communities.
 
-3. **Freedom of Movement and Expression**: Many slave codes required enslaved people to carry passes when traveling off plantations. This concept of restricting movement and expression persisted long after slavery's abolition. For the vast majority of the 20th century, New York's Cabaret Laws required licenses for jazz musicians — often Black artists — to perform, echoing the control mechanisms of slavery. Similarly, in Miami's Overtown, Black residents had to carry a police card of some kind. "The passes themselves came in different forms. Sometimes a simple note from a white employer would be enough to save a black laborer from 'an incident.'"[^1] These practices demonstrate how the legacy of slave codes continued to impact Black communities' freedom of movement and expression well into the modern era.
+3. **Freedom of Movement and Expression**: Many slave codes required enslaved people to carry passes when traveling off plantations. This concept of restricting movement and expression persisted long after slavery's abolition. For the vast majority of the 20th century, New York's Cabaret Laws required licenses for jazz musicians — often Black artists — to perform, echoing the control mechanisms of slavery. Similarly, in Miami's Overtown, Black residents had to carry a police card of some kind. "The passes themselves came in different forms. Sometimes a simple note from a white employer would be enough to save a black laborer from 'an incident.'"[^miami] These practices demonstrate how the legacy of slave codes continued to impact Black communities' freedom of movement and expression well into the modern era.
 
 
 ## Join Our Effort
@@ -50,19 +50,21 @@ We invite you to explore the slave codes, read our blog posts, and join us in th
 
 Remember the drums that sparked this journey? They offer a poignant example of how slave codes shaped cultural development. Several slave codes explicitly banned drums, recognizing their potential as tools for communication and community-building among enslaved people.
 
-For instance, following the Stono Rebellion in 1739, South Carolina's Slave Act of 1740 prohibited "drums, horns, or other loud instruments, which may call together, or give sign or notice to one another of their wicked designs or purposes." Similar laws were enacted in Georgia and other states.[^3]
+For instance, following the Stono Rebellion in 1739, South Carolina's Slave Act of 1740 prohibited "drums, horns, or other loud instruments, which may call together, or give sign or notice to one another of their wicked designs or purposes." Similar laws were enacted in Georgia and other states.[^cj]
 
 This suppression had lasting effects, fundamentally altering the development of African American music. African American jazz legend Dizzy Gillespie eloquently described this impact in his autobiography: "It's strange how the white people tried to keep us separate from the Africans and from our heritage. That's why, today, you don't hear in our music, as much as you do in other parts of the world, African heritage, because they took our drum away from us."
 
-The loss went beyond just the physical instruments. Gillespie noted a profound rhythmic shift: "As far as our heritage goes, ... with those few exceptions when they took our drums away, our music developed along a monorhythmic line. It wasn't polyrhythmic like African music."[^2] This transition from the rich, layered polyrhythms characteristic of African music to a simpler monorhythmic structure illustrates the deep-seated cultural impact of slave codes, reshaping the very foundation of African American musical expression relative to the rest of the African diaspora.
+The loss went beyond just the physical instruments. Gillespie noted a profound rhythmic shift: "As far as our heritage goes, ... with those few exceptions when they took our drums away, our music developed along a monorhythmic line. It wasn't polyrhythmic like African music."[^dizzy] This transition from the rich, layered polyrhythms characteristic of African music to a simpler monorhythmic structure illustrates the deep-seated cultural impact of slave codes, reshaping the very foundation of African American musical expression relative to the rest of the African diaspora.
 
 SlaveCodes.org is more than just a historical archive — it's a tool for understanding the roots of many contemporary social issues. By shining a light on these foundational legal structures, we hope to contribute to more informed discussions about race, law, and society in the modern world. Join us in this crucial work of historical preservation and social understanding. Together, we can uncover the often-hidden foundations of our society and work towards a more just future.
 
 ## References
 
-[^1]: Connolly, Nathan Daniel Beau. "[Colored, Caribbean, and Condemned: Miami's overtown district and the cultural expense of progress, 1940-1970.](https://www.redalyc.org/pdf/392/39211247001.pdf)" Caribbean Studies (2006): 3-60.
-[^2]: Gillespie, Dizzy. To Be, Or Not--to Bop. U of Minnesota Press, 2009.
-[^3]: <a href="#" class="tooltip-wrapper" data-bs-toggle="tooltip" data-bs-title="I'm dedicating this blog post to the late Christopher Johnson. His work on history of the drums in the United States is absolutely remarkable.">Johnson, Christopher</a>. [Musicians' Migratory Patterns: The African Drum as Symbol in Early America](https://www.routledge.com/Musicians-Migratory-Patterns-The-African-Drum-as-Symbol-in-Early-America/Johnson/p/book/9781032240091). Routledge, 2019.
+[^miami]: Connolly, Nathan Daniel Beau. "[Colored, Caribbean, and Condemned: Miami's overtown district and the cultural expense of progress, 1940-1970.](https://www.redalyc.org/pdf/392/39211247001.pdf)" Caribbean Studies (2006): 3-60.
+
+[^cj]: <a href="#" class="tooltip-wrapper" data-bs-toggle="tooltip" data-bs-title="I'm dedicating this blog post to the late Christopher Johnson. His work on history of the drums in the United States is absolutely remarkable.">Johnson, Christopher</a>. [Musicians' Migratory Patterns: The African Drum as Symbol in Early America](https://www.routledge.com/Musicians-Migratory-Patterns-The-African-Drum-as-Symbol-in-Early-America/Johnson/p/book/9781032240091). Routledge, 2019.
+
+[^dizzy]: Gillespie, Dizzy. To Be, Or Not--to Bop. U of Minnesota Press, 2009.
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 title = "Welcome to SlaveCodes.org"
 description = "Introducing SlaveCodes.org to the World"

content/codes/1724-louisiana-code-noir/louisiana_code_noir.md

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+lead = "For the time being, please ignore this page as I intent to revise this heavily.  Do not quote or cite this particular page at all."
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