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 Arkette Jean Baptiste, Choir Director
Rangel School, "TEACHER OF THE YEAR" Dallas, Texas performs the National Anthem at the Mavericks game.
"I'm proud of my daughter"
Paul Jean Batiste
Tone Palette and World of Blues.......Jazz and Blues by Paul Batiste......Just in time....November 13, 2013, on iTunes and Amazon.mp3



Seductive Recital by Paul Batiste is HERE!!!!!
The World Famous Jazz Digital Release at iTunes and Amazon mp3!!!!!!!!!!!!!!!!
get it Wednesday, September 25, 2013

Get the entire SPORTS itunes and amazon mp3.......Get "Sportsman's Paradise," "Sudden Death," "Overtime," "New Orleans Music," and "Louisiana" AT iTunes.......

The agreement spares Sony the position of defending their 30-percent market stake and the conflicts that come with it


Robin Thicke performs in Washington, DC.
Paul Morigi/WireImage
January 14, 2014 11:10 AM ET

Publishing giant Sony/ATV and Marvin Gaye's estate have reached a settlement in the ongoing lawsuit over Robin Thicke's 2013 smash "Blurred Lines," according to The Hollywood Reporter. While the terms of the settlement were not made public, as the case moves forward Sony/ATV will not have to defend giving copyrights to "Blurred Lines" and Gaye's "Got To Give It Up." The case will now specifically involve Gaye's estate and Thicke and his publishing company EMI April, which is owned by Sony/ATV.

"Blurred Lines" and More of the 50 Best Songs of 2013

Thicke, as well as the songs co-writers Pharrell Williams and T.I., took pre-emptive action back in August, seeking declaratory relief that their song was "starkly different" from "Got to Give It Up." Gaye's estate then counter-sued, accusing EMI of not protecting the R&B legend's music and actively trying to stop the family from hindering "Blurred Lines"' success (the publishing company's chairman allegedly blasted the family for "ruining an incredible song" and "killing the goose that laid the golden egg").

 10 Things You Don't Know About the "Blurred Lines" Model

Along with scoring monetary compensation from "Blurred Lines," Gaye's family also sought to split with EMI, a move Sony/ATV reportedly called "ill-advised." Though the settlement means Sony/ATV will not have to defend their impartiality, it's possible that if the case makes it to trial, Thicke's camp will want the publisher to testify in court as to why it decided the two songs were dissimilar. Still, the new agreement spares Sony/ATV the uncomfortable position of defending their 30-percent stake in the music publishing market and the inherent conflicts – such as this one – that come with it.

Why Rob Sheffield Thinks "Blurred Lines" Is the Worst Song Ever

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Jay-Z‘s 2009 single ‘Run This Town’ is being put through the legal wrangler. 

Plenty of big copyright claims this year: Hector Delgado and Jason Musson have instigated legal proceedings against Baauer’s all-consuming ‘Harlem Shake’; Marvin Gaye’s estate are taking Robin Thicke to task; and New Orleans jazz group The Batiste Brothers are suing, well, just about everyone.

A record company are now claiming that Hov’s Kanye West-produced The Blueprint III track ’Run This Town’ features an illegitimate sample of Eddie Bo’s 1969 single ‘Hook & Sling’. TufAmerica Inc, who have held the copyright to Bo’s original since 1996, have filed a lawsuit against the rapper, claiming that he sampled the track without their permission. The record company are asking for track proceeds and damages, and have requested that the court issue an order to halt “further distribution and exploitation” of ‘Hook & Sling’.


BY PAUL BATISTE  all rights reserved
Now, it's the worldwide digital release of "Move That Body" BUY IT TODAY! PRODUCED, WRITTEN, PERFORMED, SANG, ENGINEERED, AND RECORDED AT JAMD STUDIO OF PAUL BATISTE PIANO PLAYED BY MIDI GUITAR It's the Worldwide digital release of....."WORLD OF BLUES" BY PAUL BATISTE ON iTunes....iTunes.......iTunes......Today!
Batiste Cultural Arts Academy will be renamed, stay in ReNEW network, CEO says

Students from Batiste Cultural Arts Academy,a charter school that will change names next week, play some of the new instruments they received thanks to a $25,000 donation from Fidelity Investments and the Fidelity FutureStage arts education program in 2010. (The Times-Picayune archive)
Danielle Dreilinger, | The Times-PicayuneBy Danielle Dreilinger, | The Times-Picayune 
Follow on Twitter 
on May 23, 2013 at 5:06 PM, updated May 23, 2013 at 5:19 PM

Batiste Cultural Arts Academy will change its name to ReNEW Cultural Arts Academy on Wednesday, the chief executive of the ReNEW charter school network said. ReNEW runs fiveNew Orleans charters in the Recovery School District.

Announcements had appeared on Facebook and several websites that the Irish Channel school not only was leaving the ReNEW network but also was moving to the campus of Coghill, a recently chartered elementary in Gentilly, with directions for people to call or email Paul Batiste, a member of the famed musician family, for information. But ReNew CEO Gary Robichaux on Thursday described the situation as a tussle over naming rights, saying Paul Batiste's attorney called about a month ago to demand $200,000 in exchange for the Batiste name.

Robichaux declined. "We can't use state taxpayers' dollars to honor someone on the side of a building," he said.

The ReNew network had in fact already received permission from the state Board of Elementary and Secondary Education to change the school's name in an effort to unify names across the network, Robichaux said. The arts-integrated curriculum will remain the same, and Damon and David Batiste still work for ReNEW. Paul Batiste left ReNEW's employ around October 2012, Robichaux said.

David Batiste said he had retained a lawyer to challenge Paul for the rights to use the family name. Neither Paul Batiste nor the staff at Coghill immediately responded to requests for comment.

(Gon' be Dat) New Orleans Music: Memoirs of Paul A. Batiste is on sale for $20.00 at      a paperback book

LORD'S PRAYER BY PAUL BATISTE all rights reserved

Oh! Lord, Look What You've Done for Me
by Paul Batiste ft. Dawn Hudson
                IT'S HERE......IT'S HERE........IT'S HERE..........IT'S HERE............
on  iTunes........iTunes............iTunes................TODAY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Paul Batiste - Paul Batiste Music THANK YOU FOR YOUR SUPPORT AND LOVE!!!!!!!!!!!

Batiste Cultural Arts Academy is a registered trade name of Paul A. Batiste Contact Paul A. Batiste @ 504 738 3040 

It's time, it's time, It's time, It's time to shop.....Buy (Gon' be Dat) NEW ORLEANS MUSIC.....MEMOIRS OF PAUL A. BATISTE AT AMAZON.COM

The President's Committee for the Arts and the Humanities


The Book is the Perfect Gift!!

(GON' BE DAT).......................
"Oh! Carnival" written and performed by Paul Batiste
Press Play>  All rights reserved
© 2013 Artang Publishing LLC


                          Chapter seven

                                                  Funky Soul

The nineties and later were volatile with lawsuits where we sued for and got the copyrights returned to “Funky Soul.”  The lawsuit verses P.M. Dawn, Isaac Bolden, Island Records Ltd, and others took seven years for them to settle. 

    Along with that one, I sued Miller Beer for “It’s On (The Jam is on)/”Jamizon” and they settled.  It was a very stressful lawsuit.  It lasted for years and it took a toll on me.

    After that, I was listening to the radio and heard another one of my songs.  Only this time it was a brass band version.  The “(Gon’ be Dat) New Orleans Music” lawsuit was settled in 2008 and the Mardi Gras Records, Rebirth Brass Band version of “New Orleans Music” was returned to me.  

    As the idea popped into my head, I composed “New Orleans Music” in 1984.  I noticed that there was nothing to describe the city’s music.  There were terms like “Dixie Land Jazz” and “Traditional.”  Consequently, there was nothing specific to New Orleans, so I thought about the title and melody for a song.  Mardi Gras Records and Rebirth Brass Band had recorded the song without my permission and were sued for copyright infringement.  Not to be mistaken for sueing because someone used the name “New Orleans Music” in a song.  Names are trademark issues.  Lawsuits of this nature is about the underlining melody and accompanying music.

Ideas from the Holy Spirit

I feel, I have a gift to be able to compose songs.  It starts with hearing in my imagination a “hook” that’s complete with words and music.  The rest is composition with form, repetition and contrast.  I don’t write unless it comes to me from inspiration.  

    Lawsuits are not fun.  They take up all your time and the results are sometimes little, but we had no choice but to claim what is ours.  The litigations took a toll and frustrated our efforts to grow in the music industry.  Our music is infringed on all over the world.  A rap group in France (Supreme NTM) sampled “Funky Soul” and we never got a cent from it.  It makes you not want to put music out there for fear of someone stealing it, but I continue to publish because I love to create and perform.  In the meantime, I was sequencing and recording using keyboards and drum machines.  The method used was to record tracks in the Kurzweil keyboard and Roland drum machine.  I took the tracks to Festival Recording Studio and dumped the tracks to ADAT tapes.  Using sequencers, I was able to synchronize and record all tracks of eight songs.  

Jazz band leader files $100m lawsuit against rap stars over 'illegal sampling'

New Orleans musician Paul Batiste accuses artists including T-Pain, Rick Ross and DJ Khaled of stealing his band's music
The rapper T-Pain, one of the defendants named in Paul Batiste's suit.
On the rights track … T-Pain, one of the defendants named in Paul Batiste's suit. Photograph: Michael Caulfield/Getty Images North America

The leader of a New Orleans jazz band has filed a $100m (£64m) lawsuit against some of rap's biggest names, accusing T-Pain, Rick Ross and DJ Khaled of illegally sampling their music. Paul Batiste alleges that the rappers and their labels "wrongfully copied nearly every song" in the Batiste Brothers Band's decades-old catalogue.

Lawyers for Batiste filed his lawsuit in US district court last week. Court papers also named the rappers Ace Hood and Pitbull, as well as almost every major hip-hop label and publishing company, including Cash Money, Fueled By Ramen, RCA Records, Universal, Sony/ATV, Def Jam, Zomba, WB Music and EMI Blackwood. According to documents obtained by AllHipHop, the defendants "have released an immense number of songs infringing upon [Batiste's] catalogue … poach[ing] beats, lyrics, melodies and chords".

Founded in 1976, the Batiste Brothers Band describe themselves as "a major influence on the current New Orleans jazz scene". Certainly the Batistes are one of Louisiana's most important musical families, and until recently one of the state's top arts schools bore the Batiste name. Batiste siblings and children have had connections to groups including the Meters, David and the Gladiators, George Clinton, the Dirty Dozen Brass Band, Wynton Marsalis and Prince.

In addition to copying musical content, some defendants even stole song titles, claim lawyers for Paul Batiste: four rap songs, Freeze, Download, Overtime, and Boom, "have the same or nearly identical titles to [Batiste]'s songs, Freeze, Download My Love, Overtime and Bam There You Have It". And because many of the allegedly infringing songs have been released several times, Batiste's complaints begin to balloon: "Each release constitutes an independent act or acts of infringement." Hence the $100m in damages.

Because there isn't much Batiste Brothers Band music available online, it's difficult to get a quick sense of the legitimacy of the group's complaint. But a short listen to Batiste's synthy 1999 song Sportsman's Paradise does indicate a certain similarity to the 2008 T-Pain singleFreeze.

Over the past 25 years Batiste has already fought several lawsuits concerning the unauthorised sampling of his compositions, including litigation against PM Dawn, Miller Beer and the Rebirth Brass Band, all of which were settled out of court. "Lawsuits are not fun," he wrote on his website. "The litigations took a toll and frustrated our efforts to grow in the music industry … They take up all your time and the results are sometimes little, but we had no choice but to claim what is ours."

The defendants have yet to issue a statement on this case.


Did the Decline of Sampling Cause the Decline of Political Hip Hop?

Legal and financial limitations have put a damper on a musical tool that once served as an important way for rappers to connect with musical and social history.
From left to right: Public Enemy's Chuck D, Nicki Minaj, and Kanye West. (AP)

Last week, the electronic artist Clive Tanaka filed a suit against Nicki Minaj, claiming that she and her production team cribbed significant portions of his 2011 track “Neu Chicago” to create her 2012 super-hit, “Starships.” In doing so, he added the superstar rapper to the growing list of hip-hop and R&B musicians to make recent headlines for copyright disputes.  There’s been well-publicizedlegal drama, for example, involving Robin Thicke, Pharrell, and T.I. over their use of Marvin Gaye and Funkadelic tracks in their chart-topping song “Blurred Lines.” Last month New Orleans musician Paul Batiste accused a number of artists—T-Pain, Rick Ross, and DJ Khaled among them—of illegally sampling his music.  And just a few weeks ago, Young Jeezy found himself facing a lawsuitfrom Leroy Hutson for the unauthorized use of Hutson’s song “Gettin’ It On” on his 2010 mixtape, Trap or Die2.

These kinds of lawsuits have become commonplace since the early 1990s, thanks in large part to the 1991 U.S. District Court case Grand Upright Music, Ltd. v. Warner Bros. Records, Inc., which ended the days of free-for-all sampling by requiring artists to clear all samples in advance to avoid getting sued.  The judge in the case opened his ruling with “Thou shalt not steal” and went so far as to suggest that rapper Biz Markie and his label should face criminal charges for their unauthorized use of a Gilbert O’Sullivan sample.  (They didn’t.)  Similar cases followed, upholding the need to clear even the smallest of samples. 

As a result, landmark albums such as De La Soul’s Three Feet High and Risingand Public Enemy’s It Takes a Nation of Millions to Hold Us Back, built upon a dizzying array of samples, soon became all but impossible to produce because of the costs involved (according to Spin the average base price to clear a single sample is $10,000). To this day, sample-based rap remains a shadow of its former self, practiced only by hip hop’s elite—those with the budgets to clear increasingly expensive samples or defend lawsuits when they don’t. 

Some of the consequences for rap music as a genre are clear, the most obvious being that the sound of the music has changed. The relatively sample-free soundscapes of producers like Timbaland or the Neptunes are a testament to that fact, as are the songs that rely on just one or two samples rather than 20 or 30. 

But might there be subtler, thematic implications of the decline in sampling? 

It’s notable, for instance, that at the same time sampling was curbed by new copyright enforcement, we also witnessed the sunset of rap’s “golden age,” a time when dropping socially or politically engaged lyrics didn’t automatically relegate artists to “the underground.”  As someone who studies and teaches about hip hop (and who’s been listening to the music for 25 years), I'm not sure that’s a coincidence.  After all, sampling provided an important engagement with musical and political history, a connection that was interrupted by Grand Upright and the cases after it, coinciding with a growing disconnect between rap music and a sense of social responsibility.

That’s not to say sampling always resulted in the lyrics that educated, even during the “golden age.”  The Beastie Boys’ 1989 album Paul’s Boutique, a sampling classic, wasn’t exactly concerned with social edification.  But as Hank Shocklee, pioneering member of Public Enemy’s production team The Bomb Squad, told me, having open access to samples often did significantly impact artists’ lyrical content:  “A lot of the records that were being sampled were socially conscious, socially relevant records, and that has a way of shaping the lyrics that you’re going to write in conjunction with them.”  When you take sampling out of the equation, Shocklee said, much of the social consciousness disappears because, as he put it, “artists’ lyrical reference point only lies within themselves.” 

When that lyrical reference point can be rooted in previous compositions, the creative possibilities become astonishing.  Take the first 30 seconds of Public Enemy’s song “Can’t Truss It,” off their 1991 album Apocalypse 91: The Enemy Strikes Black.   Lyrically, the song argues that in order to understand the present, African Americans have to understand the past—they’ve got to “get to the roots” and grapple with the historical legacy of slavery.  To reinforce the song’s message, there’s an entire storyline of samples underpinning the lyrics, beginning with Richard Pryor’s voice saying, “It started in slave ships.” Then, immediately following, is a distorted sample of Alex Haley, author of Roots(hence the connection to the song’s focus on “roots”), describing the horrors of the Middle Passage.  That clip then cuts to a sample of Malcolm X’s voice, arguing for violent resistance, which ultimately foreshadows Chuck D’s vengeance later in the song when he raps, “Still I plan to get my hands around the neck of the man with the whip.”  All throughout these opening moments, we hear churning helicopter blades, providing a sonic connection to the present and a reminder of the ways in which police and military power are still used to maintain the hierarchies that trace back to slavery.

The complex use of samples to comment on and reinforce the song’s message continues throughout; at one point, there’s a sampled bass line from the groupSlave, an obvious connection to the lyrical content, and a subtle call to collective action with a recurring but not immediately identifiable sample of James Brown’s “Get Up, Get Into It, Get Involved.”  Calling and responding to one another, the samples and the lyrics create complementary, interconnected narratives that take listeners on a historical tour through music and politics, in the process offering a reminder that rap music resides within creative, intellectual, and communal traditions that are, in the words of Dead Prez, “bigger than hip hop.” 

In today’s hip-hop climate, dominated by the likes of Drake, Nicki Minaj, Rick Ross, and 2 Chainz, it has become difficult to find evidence that these traditions are informing mainstream rap.  Earlier this year when Young Money boss Lil Wayne was skewered for his offensive reference to Emmett Till on “Karate Chop,” people weren’t just responding to his callous indifference to the lynching of a young boy; they were responding to his utter disregard for, and mockery of, the historical struggles that made his career possible. 

With some exceptions, there’s little indication that top-selling rappers like Lil Wayne are aware of their relatively small place in the social and creative history that made their careers possible.  And without a sense that they are part of something bigger, something collective, I think it becomes all too easy for them to forego socially conscious messages in favor of the tired, narcissistic lyrics that dominate radio rotations and Billboard charts. 

"These new artists, you cannot learn anything from them," says legendary hip hop producer Pete Rock, speaking to the frustration that I and many others have with today’s rap music. “Not one thing. Nothing…It’s just whack how the game changed into ignorance.”  For him, this ignorance has become pervasive in large part due to a lost connection with the past, one that sampling provided:  “Subtract sampling and you get ignorance…Cats are not open to learning about what was before them.”

Of course, there are a number of other reasons for what USC Professor Todd Boyd once declared “The Death of Politics in Rap Music and Popular Culture,” not the least of which was white America’s growing taste for gangsta-style narratives featuring larger-than-life outlaws and graphic depictions of sex and violence.   And there are obviously still artists who engage political themes, some of them without sampling at all.  Macklemore and Ryan Lewis’s mega-hit,The Heist, doesn’t contain a single sample, and the album has a number of tracks that offer social and political commentary. 

Conversely, there are a few contemporary rappers who do use samples extensively but who are far from emulating the politics of Public Enemy or KRS ONE.  Kanye West is an obvious example—he samples liberally and is just as likely to revel in material excess and misogyny (as with the Ray Charles clip ported in for "Gold Digger") as he is to deliver a pointed social message (as with the Gil Scott-Heron performance that closes out My Beautiful Dark Twisted Fantasy).  That oscillation may stem from the fact that, nowadays, samples often speak less to hip-hop history than they do to present-day earnings—they have become so expensive to clear that for someone like Kanye West, they become markers of wealth to flaunt alongside his diamonds and Maybachs.  So, for instance, when Kanye sampled Otis Redding on Watch the Throne, music critic Chris Richards probably got it right when he said, “although West’s creation sounded cool, the overriding message was, ‘This cost me a lot of money.’” 

Thanks to a corporate and legal system that rappers don’t control, that’s one of the underlying messages of just about any sample today. This is a significant break from the early days of hip hop.  As Shocklee explains it, “The reason why we sampled in the beginning was that we couldn’t afford to have a guitar player come in and play on our record.  We couldn’t afford to have that horn section…or the string sections.  We were like scavengers, going through the garbage bin and finding whatever we could from our old dusty records.”  In a complete paradigm shift, today it’s probably less expensive to hire those string sections than to sample them.

With all the money now involved in sampling, though, there’s still one egalitarian space that has remained: the circulation of free mixtapes, which well-known and obscure artists alike use to generate publicity or showcase their talents.  These mixes, often based on uncleared samples, have generally avoided copyright lawsuits because they don’t generate revenue (not directly, anyway), and they have served as an important entrée into the industry for a number of well-known acts over the years.  They have also provided a space for artistic experimentation as well as, for some, a way to explore oppositional politics.  But recently even mixtapes have begun attracting lawsuits; along with Young Jeezy, big-name rappers like 50 Cent, Kanye West, Lil Wayne, and Mac Miller have been sued for illegal sampling on their free mixes. 

And so, with this important avenue of expression closing off for hip hop performers, what will the future of the music look like?  As Pete Rock took me through the previous generation of musicians that inspired and changed him, he finished by saying, “Music can really, really raise you.”  While he was talking about music’s capacity to elevate and transform, a new generation of kids is being raised on a brand of rap music that has fewer recognizable links to its artistic antecedents.  Perhaps, with so many new, Internet-based ways to access old music, my own children won’t need samples to “get to the roots” of rap music and will find them on their own.

I hope so. But just in case, I’m feeding them a steady diet of Public Enemy.


NOW, ONLY $25.00.........HURRY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


The legendary Album "Freeze" is on ebay.  Today, get your copy of the world famous Batiste Brothers Band hit of the eighties,,,,Now on ebay.....written by Paul Batiste....featuring the hit....."It's All About the Family"....with "Freeze" and "Dancin' Shoes"

As witnessed by my book—on occasion—I have something to say.  The book I wrote, proves that there is much to talk about.  However, I’m not the one to talk about it—so I thought.  After many years of people telling me to come from behind the scenes and carry the torch.  Meaning, they thought I should be the spokes person for The Batiste Family®.  Well, the time has come for me to except the responsibility of speaking out.  I once said I don’t like to speak and was told I missed my calling.  That’s not a compliment.  

It’s a calling to try to help others by speaking for them.  Today, I want to speak for the Arts.  I have many pages of background speaking for the Arts.  Still, there’s much to be done.  Now, I discovered, I can use the “Pen.”  I don’t consider myself a writer, but I find myself expressing myself through the Arts and writing is another great form of the Arts.

Therefore, from time to time, I will be writing a Newsletter.  I don’t have a format or schedule to write to you, so it’ll take some time for this to become organized.

The subject today—as always—is family.  I have spent many years and words selling the idea of “Family.”  Somehow, I don’t see enough credit going to “Family.”  In 1982, I wrote, “It’s All About the Family.”  It’s a great song, but it seems it didn’t get the attention it should have gotten.  When I conceived it, I thought it would become a million seller.  When it didn’t become an all time favorite, I knew how hard the battle would be.  Nonetheless, I continue to struggle with the concept of total family involvement.  It’s been a mission of mine to show what happens when everyone sticks together.  

Until now, I have had total involvement of the entire Batiste Family®.  I have been complimented on how, I was able to keep them together since 1971.  After decades of trying to hold on to family members, “Times Have Changed.”

Today, I’m announcing the departure of “David Batiste and Damon Batiste” from the Batiste Brothers Band®/The Batiste Family®.  I wish them good luck in there endeavor to “Go Solo.”  Though, I understand the pressures of life to move forward, I will miss their presence on stage with The Batiste Family® and Batiste Brothers Band®.

I have exclusive rights to book the band.  All Rights Reserved

504 738-3040


Paul A. Batiste

Founder of Batiste Brothers Band®, The Batiste Family® and Batiste Cultural Arts Academy@


There are those who would benefit from going “Solo.”  There are great examples of artist who left the pack behind, and I applaud the ambition and talent it takes to go solo.  The hard work and dedication to one’s self for the sake of gain takes tremendous will power.  Now, to clear the air, I must say nothing is wrong with going solo.

In a like manner, there’s nothing wrong with going family.  Family is home.  Though, not always at a house, home can be a city, state, country or a nation.  We all can be a family.  I have written lesson plans, songs and enlisted family members to be family for decades.  It works.  There are many success stories stemming from “home.”  I remember what my college professor once said, “There’s strength in numbers.”  What makes the Batiste Brothers strong is family.  

People love family because they can relate directly to the love.  “Brothers” is “Family” and so are sisters, children and other members.  Even companies can exhibit unity as well as trust.  Organizations have the ability to look sound and feel like everybody belongs.

On the other hand, I know there are differences in missions.  Also, it’s possible for business to come first.  However, if there’s no corruption, then even business can have trust.  

What I’m trying to say is “Keep the Family.”  Those are the lyrics to a song I wrote in 1982.  Decades ago, I knew how difficult my plan for unity among all families would be.  

Let’s keep the hope and desire to be “One” in our goals and missions.  Bands and organization should stick together and try to have the same exclusive members and enjoy the success I have had with keeping the family for 4 decades.


Paul A. Batiste

Newtown, CT..........12/14/12..........
Hadiya Pendleton...................02/12/2013

about us

Batiste Cultural Arts Academy is a Trade Name.  For the past two years, the brand has marketed and promoted schools for the ReNew network.  It’s starts with the name and continues with marketing strategies—Radio, TV and Billboard commercials that feature me.  Furthermore, music programs developed by me.  Also, the long standing reputation of The Batiste Family® and my teaching career, makes for a powerful Brand that has successfully put schools and bands on the map from scratch.

I incorporate my experience of having performed my first show in 1962 as knowledge of show.  I use my challenge of leading the musical family since 1971 as a needed tool.  Having served in the U.S. Army Military Police Company, adds to the value and gives me the knowledge of how important discipline is in all endeavors.  I have a degree in Instrumental Music Education from Southern University at New Orleans and a Louisiana license to teach.  I started teaching at over 15 schools in 1978.  

I am the president and owner of Paul A. Batiste Conservatory of the Arts, Inc. a non profit with a 501 (c) 3.  

The Batiste Brand has delivered to help to bring millions to underserved children in New Orleans.  Schools have received instruments, renovations, materials and supplies to develop programs in the Arts.  Our efforts to raise money and bring donors to the table for children is unprecedented.  

My hands on approach allows me to provide Observation and Student teaching to David, Damon, Michael, Kristopher, Jamal and Ryan Batiste.  I used my degree in education and longtime leadership in the family to provide Professional Development to the entire family.  Now, and for years, we are a driving force in education and entertainment. 

I founded the Batiste Brothers Band®/The Batiste Family® in 1976.  Now, we perform nationally and internationally on Concerts, Festivals, Conventions, Weddings, and more.

It is the goodwill, trust, honesty, and longevity we possess that drives the Brand.

Batiste Cultural Arts Academy is a registered trade name of Paul A. Batiste.  As such, I or no member of my family runs, operates or governs Batiste school.  The physical site is operated by ReNew.  Damon Batiste does not run the school.

Nor is he the leader of The Batiste Musical Family.

Let the Batiste Brand market and promote your school or entertainment.
See Paul A. Batiste

Lee's Song written and produced by Paul A. Batiste
all rights reserved


Batiste Cultural Arts Academy® is a federally registered trade name of Paul A. Batiste doing business as Batiste Family International School®

Hi, I would like to personally thank all of you who visit this site with enthusiasm and interest.  You are the reason this site is here.  You are music to my ears.  You are the lyrics to my songs and your are the reason.

If you are assisted or helped in any way, you’ve made my day.  However, please asked any question you have in mind.  I am the leader of Batiste Family.  We are honored by your presence.

-Paul A. Batiste-

(Gon' be Dat) New Orleans Music - Written by Paul A. Batiste
Batiste Brothers Band



 Batiste Franchise

Getting started with your own Batiste Brand Franchise License is as easy as A,B,C!

  1.   Contact Our Franchise Development Team.  During your initial communication with us we will answer   your questions regarding your interest and what it takes to be awarded your own Batiste Brand       Franchise License.

        B.   Complete and Submit the Confidential Personal Statement and Franchise Questionnaire.  This is                          done through the information package and then mailed to our corporate office.

        C.   Schedule a phone meeting with our Franchise Team.  This meeting will allow you to speak with the                      key people behind our success and will be your opportunity to evaluate the necessary aspects of                        owning your own Batiste Brand Franchise.

Why Franchise?

Franchising has dramatically grown in popularity.  The International Franchise Association reports that growth in the number of franchised businesses is outpacing any other business growth strategy.

Why is Franchising so appealing?  One main attribute is an increased likelihood of success.  The international Franchise Association estimates that franchisees have a 90% survival rate over a ten year period, as compared to an 18% survival rate for non franchised businesses.

Furthermore, with a franchise, you are buying a proven business.  Someone else has already made the mistakes and worked out the system.  When you pay the initial franchise fee and the ongoing royalties, you receive, in return, training, a recognizable brand name, and economies of scale with respect to everything from marketing campaigns to purchases.  This facilitates ease of starting hour practice, accelerates startup schedules, and provides ongoing support and networking opportunities.

Site Selection

We are ready to assist you in locating a site for your Batiste Brand License.  We have developed site selection criteria that you can use as a guideline in locating your Venue.  While we do not select the site for you, we will be available to help you based on our experience selecting sites for our own establishment.  We will review your site choices and help you make an evaluation based on building criteria, market area, site characteristic and access.


Plenty people never consider owning their own business because they are unsure of how to operate it.  With a Batiste Brand Franchise, you don’t have to worry about a thing.  We will provide you with plenty of training for you and your staff.  Our training will cover everything from education to entertainment and the Arts.  That’s not all you will receive.  After completing of our 10 day Professional Development (2 weeks) training course, we will also provide you with on going training as needed.  All you have to do is call.  We will also provide you with phone consultation, should you need it.


Name your Charter, Private, or Public School "Batiste,"  First in family entertainment and education.  I am the founder and orchestrater.  I can make it happen for you.  I own the federally registered trade name and have the rights to license the name to you.  As the administrator, I will partner the brand with you and your organization.  It's just that simple!!!!  ABC!!!!!!!!!!!!!!!  CALL ME:  PAUL BATISTE - 504-738 3040  -  THANKS!!!


“I have a B.A. from Southern University at New Orleans in Instrumental Music Education and I started teaching at Warren Easton, O.P. Walker and Woodson for PM Schools in 1976.  My experience of working at over 15 schools as an itinerant teacher in New Orleans, will guide you through the process.  I have a B.A. in Music Education from Southern University at New Orleans and I have been the leader of Batiste since 1971 when I managed and was one of the founders of the Gladiators founded in 1960.  We performed at the Apollo Theater in 1965.

The Batiste Brand is the name you know and trust.  Under my leadership, the brand has founded Batiste Band, Batiste Brothers Band, The Batiste Kids, The Batiste Family, Batiste Family International School and Batiste Cultural Arts Academy.  Since 1976, these brands have exhibited goodwill, trust and dependability. Batiste is the name you know!  From the—"Soul Bowl 72," local talents shows, festivals, conventions, Schools, and Universities—to Mardi Gras, we delivered.”

Ladies in Red, The Links, OPSB, Charter Schools, Superdome, New Orleans Arena, UNO Lakefront Arena, River Walk, Creole Queen, Jazz Fest, Essence Fest, 10th Anniversary of Morial Convention Center, City Park, Audubon Park, French Quarter, House of Blues, Tipitina's, and New Orleans Police Public Relations Department are some of the clients I have contracted with or performed at.  In addition, we have toured nationally and internationally including, Kobe Urban Resort Fair and Sasebo Japan in 1992-93.  
In 2009, Senator Mary Landrieu gave us a Certificate of Recognition.  We have also been recognized by the city council and former Mayor.  The former RSD Superintendent, Paul Vallas, signed a Memorandum of Understanding with The Batiste Family to have Arts at Live Oak and RSD.  When I returned to New Orleans one month after Hurricane Katrina, I started an effort to bring back the Arts by founding Paul A. Batiste Conservatory of the Arts, Inc.  It is a non-profit with a 501 (c) 3.  The foundation assisted me in starting two Middle School Marching Bands from scratch.  Between the Sophie B. Wright and Batiste Cultural Arts Academy, I brought over 200k worth of band instruments and uniforms to over 200 students of band and strings including guitars from the House of Blues.
Now, I am available and "at your service."   or
Go to this link to see Paul Batiste on the President's Committee for the Arts and Humanities Website:
Batiste has been adopted by the beautiful actress - Ms. Alfre Woodard                                                  

-Paul A. Batiste-

Call Paul at: 504-738-3040
I am no longer the Band Director for ReNew at Batiste Cultural Arts Academy
Currently, I have Licensed Batiste to ReNew until May 2013
Damon Batiste and David Batiste are no longer booking for the Batiste Brothers Band®/The Batiste Family®
For exclusive attention and booking call:  Paul Batiste (504)738-3040 or

Composer, Paul Batiste has been writing music since the age of 5.  All of the Batiste Brothers Band songs have been the brain child of his genius approach to inventing sound.  The main hits and components of "Funky Soul" was originated by Paul.  The distinctive hits have been used to knock upon entering  a door by the entire Batiste Family.  The guitar rhythm affectionately call the "Chank" has influenced many New Orleans guitarist.  The Warner Brothers 1976 "Chug a Lug" by the Hall of Fame nominee the "Meters" was accompanied by Paul on rhythm guitar at Capital Studios in Baton Rouge.  Musicians were enthralled in Japan when he toured in the nineties.  Also, he, Snooks Eglin, Eddie Bo and Russell lit up the stage at Utrecht Holland's Blues Festival in Europe.  As a teacher, he has mentored the new era Brass bands to record and perform his original "(Gon' be Dat) New Orleans Music."  His compositions are the sound track for the 3 state workbook "Sugar Cain" a bitter sweet legacy by OPSB and is at the Smithsonian.  The lyrics to "Louisiana," his original are next to Langston Hughes in the poem section of the book.  In addition, the Jazz CD "Seductive Recital" was a Smooth Jazz sensation and turntable hit.  The album is a one man band effort using technology and innovation.  All Batiste Brand websites are constructed by Paul A. Batiste.

I was chosen to lead the family by my mother.  I sacrificed and was rewarded with helping the family.  Now, I lead as the only member of the family licensed to teach music.  I am proud of what people say about the family.  Equally, I am proud of what God has done for me and the children.

excerpts from my new book:

It's here!!!! The new paperback book!!!!!!!Get it online at  your favorite outlet: "(Gon be Dat) New Orleans Music"
Welcome to the Batiste Brand Hub.  Here, you can get up to date information on all Batiste Brand Events.  Call:Paul @ 504-738-3040
Space Station - written by Paul Batiste
You tube:

As the only member of The Batiste Family®  in Louisiana who has a degree in education, I am chosen to  look after the interest of the musical family.  My mother— who passed away in 2007—left me with the responsibility of leadership:

  Book the Batiste Brothers Band for your next event.  From weddings to festivals, we are the affordable solution.  Let us plan your wedding entertainment needs.  We can provide duets, trios or a large band.  The music includes dance, party or Jazz.  New Orleans Music is also the Groom's choice.  As well, we offer traditional wedding love songs.  Call the experienced band.  Call the Batiste Brothers Band LLC.  Contact me and I'll be available to serve you.  Paul Batiste:  504-738-3040

Batiste Brothers on You Tube:
 For Booking Call: 504-738-3040 Paul Batiste, Manager —

"I am Trayvon"  —  "Peace"  Paul Batiste  Lee's song: press play
Like the Batiste Brothers Band on:

Congratulations!!!!  to the Skaff family wedding party!  Thank you for a great dinner party and choosing the Batiste Brothers Band.
BATISTE BROTHERS BAND — Under the leadership of Paul Batiste, since 1976, the band has performed in most major venues. Everywhere from Essence Fest to the French Quarter and Public Schools, we have enthralled children and adults alike. While performing at the Jazz Fest, over the years, our audiences number in the tens of thousands. While opening stages for B.B. King, Dizzy Gillespie and others, we are apart of the milestone Jazz Fest is. Visit Jazz Fest and see some of the finest bands in New Orleans.

Paul Batiste, President -Paul A. Batiste Conservatory of the Arts, Inc with a 501 (c) 3
What one puts in to life is what one gets out of life. We are educated by the thought of educating you!.
All rights reserved

Seductive Recital (The Gift) by Paul Batiste
all rights reserved 



Jazz band leader files $100m lawsuit against rap stars over 'illegal sampling'

New Orleans musician Paul Batiste accuses artists including T-Pain, Rick Ross and DJ Khaled of stealing his band's music

On the rights track … T-Pain, one of the defendants named in Paul Batiste's suit. Photograph: Michael Caulfield/Getty Images North America

The leader of a New Orleans jazz band has filed a $100m (£64m) lawsuit against some of rap's biggest names, accusing T-Pain, Rick Ross and DJ Khaled of illegally sampling their music. Paul Batiste alleges that the rappers and their labels "wrongfully copied nearly every song" in the Batiste Brothers Band's decades-old catalogue.

Lawyers for Batiste filed his lawsuit in US district court last week. Court papers also named the rappers Ace Hood and Pitbull, as well as almost every major hip-hop label and publishing company, including Cash Money, Fueled By Ramen, RCA Records, Universal, Sony/ATV, Def Jam, Zomba, WB Music and EMI Blackwood. According to documents obtained by AllHipHop, the defendants "have released an immense number of songs infringing upon [Batiste's] catalogue … poach[ing] beats, lyrics, melodies and chords".

Founded in 1976, the Batiste Brothers Band describe themselves as "a major influence on the current New Orleans jazz scene". Certainly the Batistes are one of Louisiana's most important musical families, and until recently one of the state's top arts schools bore the Batiste name. Batiste siblings and children have had connections to groups including the Meters, David and the Gladiators, George Clinton, the Dirty Dozen Brass Band, Wynton Marsalis and Prince.

 !!!!!!!!!BUY IT ON LINE TODAY:                                                                                                    


The book is the story of my life-destined to serve

If you are an aspiring teacher, band director, band leader, classroom music teacher, special education teacher, professional guitarist, flutist, composer, arranger, independent record producer, record promoter, promoter, independent record label, sequence programmer, home studio engineer, song writer, booking agent, photographer or a novice, you should read this book. I’m not all of those things, but I have seen them. Over a period of decades, I’ve experienced some things that may help someone. I am a teacher and band director. I have developed skills which combine methods and techniques to conform to today’s advanced students.

As a band director, I have started music programs from elementary school to high school. In addition, I have routinely started band pro- grams from scratch. Also, I have licensed Batiste, partnered with a charter school and applied for a charter school. Having taught my first class in 1978, I witnessed the evolution of education in New Orleans and the United States. Conversely, I’ve seen some great traditions in education disappear. This book gives one a great insight on where education is now and where it is headed.

As a band leader, I have managed the Batiste Brothers Band® and others for decades and we have performed nationally and internationally. However, we are a local band. I have spent most of my performing career in Louisiana.

Another vanishing great set of values are described and examined is the American Musical Family. In this book, we will explore value systems and the pros and cons of having a musical family.

Finally, gain from the many challenges of the life of a well traveled and coveted career veteran of innovation and creativity. Read this book and learn the nuances and the “ins and outs” of education and show business. It dawned on me as I was completing the book, I realized it is a good way for me to revisit my wonderful life-a calling.

For exclusive booking or licensing call Paul Batiste at:  504-738-3040 or
Where the 
Best Achieving Talented Intellectual Students Try Excellence 

I am a state certified teacher of more than 30 years with a BA in Instrumental Music

Director, Paul Batiste has taught at over 15 schools in New Orleans since 1978.  Batiste is a state certified teacher, guitarist, composer, producer and flutist.  In 1962, he and his family won first place in the St. Augustine High School Talent Show.  In 1965, the family went to New York City for the Apollo Theater Show and won first place.  His Mom and Dad had a vision for the Arts.
Excerpts from "Memoirs of Paul A. Batiste"


For information: or 504-7383040  
I am no longer the Band Director for ReNew at Batiste Cultural Arts Academy
Related web site:

Paul Andrea Jean Batiste

I am the last person in the world to want to write a book, but I find myself writing to tell the story of my Mom, Dad and family who are deserving of a story to let people know what the musical family is like. Also, how Mom and Dad struggled and triumphed through life. In addition, what if the new millennium ushered in a wave of half truths? You would write the book and in the mean time, everyone would know who you are and what the true story is. Particularly, I’m concern about my family’s name and image in the community. I’d like to carry on the goodwill they exhibited. In addition, I want all aspir- ing young entertainers to know the value of education. Stay in school for as long as you can. Maybe, I can help someone by telling my story 
of education and entertainment.

Another note on writing is there is no I in team. I feel guilty for all the misconception music brings on. People think you are famous- music is famous. However, I have known many famous people. Don’t give me credit for what the profession can do for people. Positions such as teacher, band director, band leader, educator, artists or entertainer should get all the credit. There are no professions more noble and serving than teaching.

Consequently, I have to explain my selfishness toward music. Example, I practiced long hours, learned to play a few instruments, worked two music related jobs, took extended years of education—it took me longer to graduate than most—studied music technologies, started music companies and self indulged myself in music. I apologize to those people I neglected to consume myself in music. Especially, to those people-I owe it to you to be successful in music and I’d like to spread the success.

In spite of, I am not particularly famous, rich, or known for anything except music in one form or another. Indeed, I am rich with the God given knowledge that I need to improve and be a better servant of God and man. Also, having a wealth of knowledge in music has merit, and what better way to share the knowledge than to teach. The best thing about teaching is giving. There is a reward for giving. In my teaching career, I have learned from students as much as my students have learned from me. Likewise, there’s the student who reminds me of myself when I was that age, or there’s the one who’s on another level. Children need help from experienced people who know the value of caring. What one puts into life is what one gets out of life. Moreover, no matter how challenging the profession may be, the last problem one should have is with the student. We find so- lutions for the child in how we facilitate them. With proper planning for our youth, they can make a better world.

I never wanted to do anything but juxtapose music and sports. Maybe it’s in my genes or my blood-I don’t know, but as a child that’s all I wanted to do. From the time I was born, I was surrounded by music in a family of athletic musicians. Therefore, music and sports was made for me, so I thought. Later, I would learn it’s not so easy.

I knew music and sports were difficult, but I didn’t dream of the discipline, luck and experience required in overcoming the exploitation empire of the entertainment and sports world. Exploitation empires because of the millions of people who have been taken advantage of - especially the ones who died penniless because they didn’t know the business of their passion.

Let’s began with sports. I started in sand lot playground ball. I considered myself capable of succeeding, but as in all ventures, it’s who you know not what you know. I remember my high school coach telling me, “Batiste, you don’t stand next to me during the game. You have to be more assertive.” I understand what coach meant but my position on this is, I run the ball with reckless abandonment, put my heart and soul in it. That should be a good enough demonstration for me to be patient until I’m called. That’s the atti- tude one should have-confidence. Let your work speak for itself. Not. Life is not that simple though-being assertive matters.

Moreover, statistics show a small percentage of aspiring athletes make it to the professional leagues. With music, the problem is most artists in the field of my interest are located on the East coast or the West coast. On the East coast, there are major record industries, Broadway, and Madison Avenue. On the West coast there are major record industries, major movie studios, and major technology areas. Even places like Tennessee have “Country and Western” music marketing and industries. More recently, Atlanta has emerged as a hub for Hip Hop and R&B. Music business is 90% business and 10% music.

In the fifties, New Orleans was the first major town for the music industry. That would later change and the industry would move to other places. As with anything else, sometimes, one’s fortune or misfortune can be linked to location, location and location.

Shy? I am always told I am the shy one. What does that mean? Quiet, maybe, but not shy. I’m not shy about a musical instrument. I play the guitar, flute, piano, drums, violin, saxophone and keyboards. Additionally, I have studied most kinds of instruments. I’m not shy when there is something I want-I go after it. Nonetheless, I know what people are talking about. It’s the appearance of still water.




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