New Orleans Music Quotes

There are only two things: love, all sorts of love, with pretty girls, and the music of New Orleans or Duke Ellington. Everything else ought to go, because everything else is ugly.

For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.

To encapsulate the notion of Mardi Gras as nothing more than a big drunk is to take the simple and stupid way out, and I, for one, am getting tired of staying stuck on simple and stupid. Mardi Gras is not a parade. Mardi Gras is not girls flashing on French Quarter balconies. Mardi Gras is not an alcoholic binge. Mardi Gras is bars and restaurants changing out all the CD's in their jukeboxes to Professor Longhair and the Neville Brothers, and it is annual front-porch crawfish boils hours before the parades so your stomach and attitude reach a state of grace, and it is returning to the same street corner, year after year, and standing next to the same people, year after year--people whose names you may or may not even know but you've watched their kids grow up in this public tableau and when they're not there, you wonder: Where are those guys this year? It is dressing your dog in a stupid costume and cheering when the marching bands go crazy and clapping and saluting the military bands when they crisply snap to. Now that part, more than ever. It's mad piano professors converging on our city from all over the world and banging the 88's until dawn and laughing at the hairy-shouldered men in dresses too tight and stalking the Indians under Claiborne overpass and thrilling the years you find them and lamenting the years you don't and promising yourself you will next year. It's wearing frightful color combination in public and rolling your eyes at the guy in your office who--like clockwork, year after year--denies that he got the baby in the king cake and now someone else has to pony up the ten bucks for the next one. Mardi Gras is the love of life. It is the harmonic convergence of our food, our music, our creativity, our eccentricity, our neighborhoods, and our joy of living. All at once.

When I am introduced as someone from New Orleans, people sometimes say: "I'm so sorry." New Orleans. I'm so sorry. That's not the way it was before,not the way it's supposed to be. When people find out you're from New Orleans, they're supposed to tell you about how they got drunk there once, or fell in love there, or first heard the music there that changed their lives. At worst people would say: "I've always wanted to go there." But now, it's just: "I'm sorry." Man, that kills me. That just kills me.

For a second, I stop fighting and think about what he's asking me. Did I live? I made a best friend. Lost another. Cried. Laughed. Lost my virginity. Gained a piece of magic, gave it away. Possibly changed a man's destiny. Drank beer. Slept in cheap motels. Got pissed off. Laughed some more. Escaped from the police and bounty hunters. Watched the sun set over the ocean. Had a soda with my sister. Saw my mom and dad as they are. Understood music. Had sex again, and it was pretty mind-blowing. Not that I'm keeping score. Okay, I'm keeping score. Played the bass. Went to a concert. Wandered around New Orleans. Freed the snow globes. Saved the universe.

White folks have controlled New Orleans with money and guns, black folks have controlled it with magic and music, and although there has been a steady undercurrent of mutual admiration, an intermingling of cultures unheard of in any other American city, South or North; although there has prevailed a most joyous and fascinating interface, black anger and white fear has persisted, providing the ongoing, ostensibly integrated fete champetre with volatile and sometimes violent idiosyncrasies.

The thought of being immersed in the jazz scene in New Orleans, that magical hodgepodge of Delta-blues guitar riffs, brassy ragtime horns, and sultry French Gypsy music is too painful for Karina to stomach. Every girl loves a wedding unless the groom is the lost love of her life.

Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it's as if the audience--dancing, singing to the refrains, laughing--is part of the band. They are two parts of the same thing. The dancers interpret, or it might be better to say literally embody, the sounds of the band, answering the instruments. Since everyone is listening to different parts of the music--she to the trumpet melody, he to the bass drum, she to the trombone--the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dancers, and getting ideas from the dancers' gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name; one is literally getting down, as in particle physics, to some root stratum where one is freed from the lockstop of time itself, where time might even run backward, or sideways, and something eternal and transcendent is accessed.

Those who have not lived in New Orleans have missed an incredible, glorious, vital city--a place with an energy unlike anywhere else in the world, a majority-African American city where resistance to white supremacy has cultivated and supported a generous, subversive, and unique culture of vivid beauty. From jazz, blues, and and hip-hop to secondlines, Mardi Gras Indians, jazz funerals, and the citywide tradition of red beans and rice on Monday nights, New Orleans is a place of art and music and food and traditions and sexuality and liberation.

The role of these New Orleans Creoles in the development of jazz remains one of the least understood and most commonly mis-represented issues in the history of this music.

Rarely is the best New Orleans music found in a concert hall where the audience sits separated from the performers by a proscenium,

New Orleans music lovers, black, white, young and old, are much more likely to be found in places where they can dance to the music they love, holler encouragement, sing along and, if at all possible, eat and drink at the same time.

The first music to be called blues seems to have been slow, but not necessarily sad—it was a sexy rhythm, popular with African American working-class dancers in New Orleans and other parts of the Deep South.

In New Orleans, on the other hand, geography and time, food, music, holidays, modes of dress and ways of speaking, are part of an integrated fabric. People dress in certain ways for certain events, and certain foods are eaten on certain days,

New Orleans has a mythology, a personality, a soul, that is large, and that has touched people around the world. It has its own music (many of its own musics), its own cuisine, its own way of talking, its own architecture, its own smell, its own look and feel.

[T]he piano was to Harlem what brass bands had been to New Orleans. The instrument represented conflicting possibilities -- a pathway for assimilating traditional highbrow culture, a calling card of lowbrow nightlife, a symbol of middle-class prosperity, or, quite simply, a means of making a living.

Hurricane Katrina arrived without a confirmed weather category, or a name that adequately addressed anger summoned from a thousand leagues down. When the levees broke in New Orleans images escaped television screens to tattoo every skin with the shameful reality that America’s towers fell twice. There was no phoenix. Only mosquitoes escaped the ashes, promising to puncture any still unbloodied with the needle kiss of plague. Then, a great swarm of dragonflies, sent by some other to even the odds. They feasted on the thin-limbed vampires, devoured body and virus, and then hovered around the floating bloated bodies of forgotten grandmothers, armored escorts of the dead. Their wings hummed swamp sonnets while their mouths swallowed maggots, thwarting attempts to hurry death beyond spring sunsets and autumn graves. They kept up their holy procession until New Orleans rebirthed jazz and cut the bodies loose and let saints march in all over again. As I steer my bike through one puddle after the other, making the street music urban rainforest dwellers know, I ask the splash to summon the dragonfly. Call her from the swamp into my throat to name the lump that will never loose me. Be my escort, gobble the flies ever entering me before their children become my whole.

Benny was from America, like most musicians at the Jasmine–a place called New Orleans. Cairo brought in people from all over. Some looking for work or drawn by stories of mechanical wonders and djinn. Benny and the others had come fleeing a thing called Jim Crow. They brought with them their hopes, their dreams, and their fantastic music.

The wild notes of tuba and trumpet and trombone rattled and hummed through the trees. In the first group of musicians, there were kids as young as fourteen playing the tuba and one kid who probably couldn’t drive banging a bass drum. They stomped together in rhythm to the music. Two ladies had dressed up in what looked like princess outfits. They wore white gloves and socks with tassels.

Like the New Orleans tradition that preceded it, and the Swing Era offerings that followed it, Chicago jazz was not just the music of a time and place, but also a timeless style of performance - and for its exponents, very much a way of life - one that continues to reverberate to this day in the works of countless Dixieland and traditional jazz bands around the world. For many listeners, the Chicago style remains nothing less than the quintessential sound of jazz.

When the music stopped, the curtains to their booth flew open. Jax, the devastatingly handsome Nordic wolf, leered down on the lovers, who smiled up at him in amusement. “I said pretend to be her mate. At any point, did you hear me say, ‘Come up to New York and fuck my sister in public…during one of my company events?’ Did I say that? I really don’t recall saying that.” Jax scrubbed his fingers over his tightly cropped hair. He moved to the balcony, overlooking the patrons who were shuffling into the lobby for the intermission. “Sorry.” Dimitri laughed. He knew that they should have been slightly less conspicuous but the draw of his mate had been too much to resist. “Sorry? Really? That’s all you’ve got?” He turned to Gillian, who scrambled up to her feet, adjusting her dress. “And you? What’s your excuse, little sister? Seriously, every shifter in the room could hear you.” “Um, well, yeah, sorry about that. But technically this is your fault. I mean, what did you expect? You asked Dimitri to come here…to pretend to be my mate.” Gillian reasoned that her comeback sounded solid, inexperienced in dealing with her Alpha brother.

He’d been toting it, and checking it, and packing and unpacking, all the way since fate was on the river - that’s how long - the Big River” - Fate Marable and his riverboat caliope (Cleo seemed to recall), who hadastonished the landings between New Orleans and St. Louis with the wild, harsh, skirling Gypsy music, and left there, echoing in the young and restless even as it dies off round the bed; to linger with them thereafter, in the pelting roar of November midnights and the clickety-clack of lonesome valley freights, until they up one night and go after it in a battered bus, following the telephone wires that make a zigzag music staff against the evening sky - some variation of that basic beginning could be told for everyone who jazz has touched and altered.

440,000 residents were scattered all around the country. But New Orleans did survive. And years later, it continues to recover — building by building, house by house, tree by tree, road by road, family by family. Seventy-five percent of residents have returned. To many visitors, the city seems as vibrant as it always was, with unforgettable music and food, beautiful buildings and gardens, and streets that bustle with energy unlike any other city in America. But in some of the poorest and hardest-hit neighborhoods, recovery has been painfully slow. If Barry were to come back to the Lower Ninth Ward today, he would see few of his neighbors smiling down from their porches. Much of the Lower Nine is still abandoned. Only 19 percent of that neighborhood’s residents have returned.

Life in New Orleans is all about making the present--this moment, right now--as pleasant as possible. So New Orleanians, by and large, aren't tortured by the frenzy to achieve, acquire, and manage the unmanageable future. Their days are built around the things that other Americans have pushed out of their lives by incessant work: art, music, elaborate cooking, and--most of all--plenty of relaxed time with family and friends. Their jobs are really just the things they do to earn a little money; they're not the organiing principle of life. While this isn't a worldview particularly conducive to getting things done, getting things done isn't the most important thing in New Orleans. Living life is. Once you've tasted that, and especially if it's how you grew up, life everywhere else feels thin indeed.

[New Orleans.] Katrina changed everything. Life here is different, every face altered. Yet we feel and sense the landscape not only in its hurricane-leveled, sodden depressions but — perhaps even more so now in the strangely comforting depths of our shared history. Even in the worst hit areas, not all is dissipated. Dense intricate attachments burrow too deep to underestimate or overlook. This is no featureless town to be rubbed off the map and cast aside. Here the band plays on. Our kindred colors speak to the values of justice, faith and power; to curious combinations of passion, openness, irreverence and loyalty, to the values of individuality, sharing and compassion. Not least, we still enjoy the sounds of music and respond to succulent foods, to the magnificent flowering gardens, to the elements of grace and dreamy escape, and to the languid Southern charm typical of faded days gone by.

Get ready to be swept away by the enchanting melodies and energetic rhythms at Gasa Gasa, the premier live music destination in New Orleans. From local legends to international sensations, this venue promises an extraordinary and immersive musical journey. Phone: (+1) 504-571-5522 Address: 4920 Freret St, New Orleans, LA Website: gasa-gasa.com

Later, I sat down drunk on the corner of Carondelet and Canal Streets, listening for the rumble of the streetcar that would take me back uptown to my apartment, watching the evening sun bleed from the streets, the city shifting into night, when it truly became New Orleans: the music, the constant festival, the smell of late evening dinners pouring out, layering the beer-soaked streets, prostitutes, clubs with DJs, rowdy gay bars, dirty strip clubs, the insane out for a walk, college students vomiting in trash cans, daiquiri bars lit up like supermarkets, washing-machine-sized mixers built into the wall spinning every color of daiquiri, lone trumpet players, grown women crying, clawing at men in suits, portrait painters, spangers (spare change beggars), gutter punks with dogs, kids tap-dancing with spinning bike wheels on their heads, the golden cowboy frozen on a milk crate, his golden gun pointed at a child in the crowd, fortune-tellers, psycho preachers, mumblers, fighters, rock-faced college boys out for a date rape, club chicks wearing silver miniskirts, horse-drawn carriages, plastic cups piling against the high curbs of Bourbon Street, jazz music pressing up against rock-and-roll cover bands, murderers, scam artists, hippies selling anything, magic shows and people on unicycles, flying cockroaches the size of pocket rockets, rats without fear, men in drag, business execs wandering drunk in packs, deciding not to tell their wives, sluts sucking dick on open balconies, cops on horseback looking down blouses, cars wading across the river of drunks on Bourbon Street, the people screaming at them, pouring drinks on the hood, putting their asses to the window, whole bars of people laughing, shot girls with test tubes of neon-colored booze, bouncers dragging skinny white boys out by their necks, college girls rubbing each other’s backs after vomiting tequila, T-shirts, drinks sold in a green two-foot tube with a small souvenir grenade in the bottom, people stumbling, tripping, falling, laughing on the sidewalk in the filth, laughing too hard to stand back up, thin rivers of piss leaking out from corners, brides with dirty dresses, men in G-strings, mangy dogs, balloon animals, camcorders, twenty-four-hour 3-4-1, free admission, amateur night, black-eyed strippers, drunk bicyclers, clouds of termites like brown mist surrounding streetlamps, ventriloquists, bikers, people sitting on mailboxes, coffee with chicory, soul singers, the shoeless, the drunks, the blissful, the ignorant, the beaten, the assholes, the cheaters, the douche bags, the comedians, the holy, the broken, the affluent, the beggars, the forgotten, and the soft spring air pregnant with every scent created by such a town.

Mr. Bojangles" I knew a man Bojangles and he'd dance for you In worn out shoes Silver hair and ragged shirt and baggy pants He did the old soft shoe He jumped so high He jumped so high Then he'd lightly touch down I met him in a cell in New Orleans I was down and out He looked to me to be the eyes of age As he spoke right out He talked of life He talked of life He laughed slapped his leg a step He said the name Bojangles and he danced A lick across the cell He grabbed his pants a better stance Then he jumped so high He clicked his heels He let go a laugh oh he let go a laugh Shook back his clothes all around Mister Bojangles Mister Bojangles Mister Bojangles Dance He danced for those at minstrel shows and county fairs Throughout the South He spoke with tears of fifteen years how his dog And him traveled about His dog up and died He up and died After twenty years he still grieves He said I dance now at every chance in honky-tonks For drinks and tips But most o' the time I spend behind these county bars Hell I drinks a bit He shook his head and as he shook his head I heard someone ask him please Mister Bojangles Mister Bojangles Mister Bojangles Dance Jerry Jeff Walker, Mr. Bojangles (1968)

I love New Orleans. Even after—perhaps especially after—having covered the horror of Hurricane Katrina. I adore everything about the place: the people, the architecture, the history, the life-altering music, and the life-shortening cuisine.

RABBIT INVENTS THE SAXOPHONE When one of the last trails of tears wound through New Orleans Rabbit, that ragged trickster, decided he wanted To be a musician. He was tired of walking. And they had all the fun. They got all the women, they were surrounded By fans who gave them smokes, drinks, and he could have All kinds of friends to do his bidding. But, Rabbit hadn’t proved to be musical. When he led at stomp dance no one would follow. No shell shaker would shake shells for him. He was never invited to lead, even when the young ones Were called up to practice. The first thing a musician needs is a band, he said to his friends. The hottest new music was being made at Congo Square— So many tribes were jamming there: African, Native, and a few remnant French. Making a new music of melody, love and beat. Rabbit climbed up to the stage but had nothing to offer. Just his strut, charming banter, and what looked like a long stick Down the tight leg of pants. Musicians are musicians, no trick will get by.

Medicine, to produce health, must examine disease, and music, to create harmony, must examine discord.” —Plutarch Book One New Orleans 1891

ORIGIN OF JAZZ It was 1906. People were coming and going as usual along Perdido Street in a poor neighborhood of New Orleans. A five-year-old child peeking out the window watched that boring sameness with open eyes and very open ears, as if he expected something to happen. It happened. Music exploded from the corner and filled the street. A man was blowing his cornet straight up to the sky and around him a crowd clapped in time and sang and danced. And Louis Armstrong, the boy in the window, swayed back and forth with such enthusiasm he nearly fell out. A few days later, the man with the cornet entered an insane asylum. They locked him up in the Negro section. That was the only time his name, Buddy Bolden, appeared in the newspapers. He died a quarter of a century later in the same asylum, and the papers did not notice. But his music, never written down or recorded, played on inside the people who had delighted in it at parties or at funerals. According to those in the know, that phantom was the founder of jazz.

Cultural Diplomacy—and an Accolade Among Piazzolla’s tasks during his first summer at the Chalet El Casco was the composition of “Le Grand Tango,” a ten-minute piece for cello and piano commissioned by Efraín Paesky, Director of the OAS Division of Arts, and dedicated to Mstislav Rostropovich, to whom Piazzolla sent the score. Rostropovich had not heard of Piazzolla at the time and did not look seriously at the music for several years.7 Written in ternary form, the work bears all Piazzolla’s hallmarks: tight construction, strong accents, harmonic tensions, rhythmic complexity and melodic inspiration, all apparent from the fierce cello scrapes at the beginning. Piazzolla uses intervals not frequently visited on the cello fingerboard. Its largely tender mood, notably on display in the cello’s snaking melodic line in the reflective middle section, becomes more profoundly complex in its emotional range toward the end. With its intricate juxtapositions of driving rhythms and heart-rending tags of tune, it is just about the most exciting music Piazzolla ever wrote, a masterpiece. Piazzolla was eager for Rostropovich to play it, but the chance did not come for eight years. Rostropovich, having looked at the music, and “astounded by the great talent of Astor,” decided he would include it in a concert. He made some changes in the cello part and wanted Piazzolla to hear them before he played the piece. Accordingly, in April 1990, he rehearsed it with Argentine pianist Susana Mendelievich in a room at the Teatro Colón, and Piazzolla gently coached the maestro in tango style—”Yes, tan-go, tan-go, tan-go.” The two men took an instant liking to one another.8 It was, says Mendelievich, “as if Rostropovich had played tangos all his life.” “Le Grand Tango” had its world premiere in New Orleans on April 24, 1990. Sarah Wolfensohn was the pianist. Three days later, they both played this piece again at the Gusman Cultural Center in Miami. [NOTE C] Rostropovich performed “Le Grand Tango” at the Teatro Colón, Buenos Aires, in July 1994; the pianist was Lambert Orkis. More recently, cellist Yo-Yo Ma has described “Le Grand Tango” as one of his “favorite pieces of music,” praising its “inextricable rhythmic sense...total freedom, passion, ecstasy.

In New Orleans—if you could get to New Orleans—would the music be loud enough?

Angelina, I adore you...," crooned Louis. Then the New Orleans Gang picked up the beat and King Louis sang, "I eat antipasto twice, just because she is so nice, Angelina..." Fresh pasta time. Angelina cracked three eggs into the center of a mound of 00 flour, in time to the music, and began teasing the flour into the sticky center. With a hand-cranked pasta maker, she rolled out the dough into long, silky-thin sheets, laid them out until they covered the entire table, then used a 'mezza luna' to carefully slice wide strips of pasta for a new dish she wanted to try that she called Lasagna Provencal, a combination of Italian and French cheeses, Roma and sun-dried tomatoes, Herbes de Provence, and fresh basil. It was a recipe for which she had very high hopes. Angelina started assembling her lasagna. She mixed creamy Neufchatel, ricotta, and a sharp, grated Parmigiano-Reggiano in with a whole egg to bind it together. She layered fresh pasta sheets in a lasagna dish, coated them with the cheesy mixture, ripped in some fresh basil and oregano and sun-dried tomatoes. She worked quickly, but with iron concentration. "I'm-a just a gigolo, everywhere I go...," sang King Louie. For the second layer, she used more pasta topped with Gruyere and herbed Boursin cheese. The third layer was the same as the first. For the fourth layer, she used the rest of the Boursin and dollops of creme fraiche, then ladled the thick, rich tomato sauce from the stove on top and finished it with a sprinkling of shredded Gruyere. She set it aside for baking later and felt a flush of craftswomanly pride in the way it had all come together.

You’re in New Orleans, one of the best places in the world to redefine yourself, to rediscover yourself. Go find the music. Go find your soul.

With little else to do I rode my Vesper motor scooter from Harbel to Roberts Field. Perhaps there might be some excitement around the airport, but no such luck. Eric Reeves the Station Master and Air Traffic Controller was in the tower and was in communications with the incoming airliner. Everything was quiet in anticipation of a Pan American Clipper's arrival. On the ground floor all was quiet except for a solitary passenger in the terminal. Apparently he was waiting for the next flight out, which wasn't due for another two hours. As I approached him, I could see that he looked familiar…. I immediately recognized him as a world class trumpet player and gravel voiced singer from New Orleans. He must have seen the look on my face and broke the ice by introducing himself as Louie Armstrong. "Hi," I answered, "I'm Hank Bracker, Captain Hank Bracker." I noticed that he was apparently alone sitting there with a mountain of belongings which obviously included musical instruments. Here was Louis Armstrong, the famous Louie Armstrong, all alone in this dusty, hot terminal, and yes he had a big white handkerchief! He volunteered that the others in his party were at the club looking for something to eat. With no one else around, we talked about New Orleans, his music and how someone named King Oliver, a person I had never heard of, was his mentor. At the time I didn't know much about Dixie Land music or the Blues, but talking to Louie Armstrong was a thrill I'll never forget. In retrospect it’s amazing to find out that you don’t know what you didn’t know. I found out that he actually lived in Queens, NY at that time, not too far from where my aunt and uncle lived. I also found out that he was the Good Will Ambassador at Large and represented the United States on a tour that included Europe and Africa, but now he was just a friendly person I had the good fortune to meet, under these most unusual circumstances. His destination was Ghana where he, his wife and his band the All Stars group were scheduled to perform a concert in the capitol city of Accra. Little did I know that the tour he was on was scheduled by Edward R. Murrow, who would later be my neighbor in Pawling, New York. Although our time together was limited, it was obvious that he had compassion for the people of the "Third World Nations," and wanted to help them. Although after our short time together, I never saw Louie again but I just know that he did. He seemed to be the type of person that could bring sunshine with him wherever he went.…

It was decaffeinated jazz he sent to WJZ via Western Union lines from the Hotel Pennsylvania. A distant echo of New Orleans, yet it spoke to listeners.” The ’20s style was lively, rich with saxophone and violin and well-sprinkled with novelty tunes. Lopez was instantly identified by his theme, Nola, given a dexterous workout on the Lopez keyboard. Whiteman had Gershwin: his Rhapsody in Blue concert at Aeolian Hall on Feb. 12, 1924, established his reputation. And though Whiteman was slow to find his way into radio, he was a major force in band music of the ’20s. George Olsen was a master of popular music: his 1925 recording Who was a bestseller, followed by such period hits as The Varsity Drag, Because My Baby Don’t Mean Maybe Now, and Doin’ the Raccoon, a testament to the national passion for fur coats.

This piece of land was our original sin, except we had found no baptismal rite to expunge it from our lives. That green-purple field of new cane was rooted in rib cage and eye socket. But what of the others whose lives had begun here and ended in other places? The ones who became prostitutes in cribs on Hopkins Street in New Iberia and Jane’s Alley in New Orleans, sliced their hands open with oyster knives, laid bare their shin bones with the cane sickle, learned the twelve-string blues on the Red Hat gang and in the camps at Angola with Leadbelly and Hogman Matthew Maxey, were virtually cooked alive in the castiron sweatboxes of Camp A, and rode Jim Crow trains North, as in a biblical exodus, to southside Chicago and the magic of 1925 Harlem, where they filled the air with the music of the South and the smell of cornbread and greens and pork chops fixed in sweet potatoes, as though they were still willing to forgive if we would only acknowledge their capacity for forgiveness. Tolstoy asked how much land did a man need. Just enough to let him feel the pull of the earth on his ankles and the claim it lays on the quick as well as the dead.

It seemed each band member was in his own world. Yet, each was in tune with the other.

He turned around to see the bass drum popping and the horn sections pointing their instruments to the balconies and sending glorious notes to the rooftops.

A good crowd had formed along the sidewalk and the concrete ledge that bordered Louis Armstrong Park. The anticipation was dizzying...New Orleans had the big-boy parades and [Jackson & Billy] couldn't wait to attend a second line...

people of New Orleans spun a culture out of their lives—a music, a cuisine, a sense of life—that has been recognized around the world as a transforming spiritual force.

So much, it would seem, for the music that would eventually be regarded as the first truly American art form.

then sang a musical version of the Lord’s Prayer in a wavering, contralto voice with bluesy quarter-tone inflections. It was strange, haunting, beautiful. Even

crawfish. Nine guests were already gathered around, squeezing the highly seasoned meat out of the tails, sucking the juice out of the rest of the carcass and then going immediately for another, washing them down with beer and also eating the potatoes and corn on the cob that had been boiled along with the crawfish. It was one of the most ingrained communal rituals in New Orleans, everyone eating from the same horn of plenty, facing one another and talking, talking, talking as they ate, about music they had seen, city politics, the Saints game, which was still going inside, making jokes, making plans, making good-natured trouble.

There was a siren-song magic about their music

BLACK MUSIC DIDN’T stop with the blues in Mississippi but followed the river to its end, to New Orleans, an island in a swamp created by the natural levees the river left behind after centuries of floods. It was the only place for miles around dry enough for Jean-Baptiste Le Moyne de Bienville to stand on and establish it in 1718, naming it for the regent of France, Philippe II, Duc d’Orléans. Philippe was a truly debauched man who slept late and never worked hard and loved food and sex, and the city has honored his memory ever since.

I heard a tune from Aaron Neville floating out of someone's window on the other end of the street. I could tell it was him from the trembling, angelic quality of the voice. I'm no music connoisseur, but once you hear something like that you never forget it. That was the thing about New Orleans. Even in the morning, with the city all quiet like it was now, you could do something as simple as turning a corner and you might find someone weeping, or someone singing, or praying, or laughing hysterically, or harming or charming someone else. It took getting used to.

General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever

I don't know. Chicken bones, frizzly hens, all that voodoo stuff gives me the creeps." He got up and put his arms around me. "How do you know about frizzly hens?" "I just do." "Strange." "Louise and Fayetteville." "Ah, yes, Louise. Well, do I give you the creeps?" "No." "That's right. And besides, there's a lot more to New Orleans than that. There's gumbo and bread pudding and fried chicken. There are old Victorian homes, music everywhere, and the friendliest, nicest people everywhere.

On me your voice falls as they say love should, Like an enormous yes. My Crescent City Is where your speech alone is understood

They were all in New Orleans, a place like none other in America. A city whose residents treasured their food, their music, their architecture, and their ability to live in the moment. Founded by the French, conquered by the Spanish, then taken back under French rule before being sold to the Americans, New Orleans had survived slavery, the Civil War, yellow-fever epidemics, and ferocious hurricanes resulting in the deaths of hundreds, the displacement of thousands more, and the destruction of huge swaths of the city. People who lived in the Big Easy well understood the fragility of life.

Day 8 after coming home from the hospital The classic recipes are goat, lamb, vegetable, and/or chicken biriyani. But when I was in New Orleans, at this restaurant, they served Louisiana barbecue shrimp, which was simply delicious. When I asked the waiter what was in the shrimp sauce, he rattled off a number of spices (rosemary, thyme, basil, oregano, et cetera) and so, I went with memory.  I marinated the raw prawns in mashed garlic, rosemary, basil, oregano, thyme, sage, paprika, black pepper, white pepper, cayenne, and onion powder, along with a dash of Worcestershire sauce. I decided to cook the rice in the pressure cooker, always quick and easy. I heated some ghee in the pressure cooker, added crushed cloves, cardamom, and cinnamon, and a bay leaf for a minute or so. Then I added some onions and fried until the onions became golden brown. Then went in the rice, and enough water, and I closed the pressure cooker. The rice was ready in ten minutes. In a separate pan, I sautéed the marinated prawns in butter, along with extra chopped garlic and the marinade, and added them to the cooked rice. I garnished it with chopped fresh coriander and voila, Cajun prawn biriyani. I served it with some regular cucumber raita. Mama had been so sure that Daddy would hate prawns but I saw him clean out each one on his plate and even get a second helping. Sometimes we forget why we don’t like some things and then when we try them again, we realize that we had been wrong. Giving Serious Though to Adultery Girish was a classical music buff and in the beginning of their marriage, Shobha joined him for a few musical events and lectures.

The night of the Grammys, Los Lobos were 1,895 miles from home, in New Orleans, in the middle of their first tour of the East and Southeast, driving from gig to gig in a van and sharing a single hotel room on the road. They were to play Jimmy’s Music Club that night, but repaired to a local bar to watch the awards show on TV before their set. Berlin recalls, “[The announcer] said, ‘Earlier this evening, these awards were handed out.’ And sure enough, there’s a picture of Los Lobos. So we start flipping out—‘Oh, shit, we won this thing! We won a Grammy!’ And this old drunk at the bar said, ‘Yeah, right, buddy.’ We were all ecstatic. And we get to the gig, and there’s five people there.

Lucky settled on an NPR-type station that played jazz—not New Orleans–type jazz, but the other kind, you know, New York type or something where you get the feeling that everybody playing an instrument went to college someplace fancy and studied music until they just about ruined all their natural instincts.

You Never Can Tell" It was a teenage wedding, and the old folks wished them well You could see that Pierre did truly love the mademoiselle And now the young monsieur and madame have rung the chapel bell, "C'est la vie", say the old folks, it goes to show you never can tell They furnished off an apartment with a two room Roebuck sale The coolerator was crammed with TV dinners and ginger ale, But when Pierre found work, the little money comin' worked out well "C'est la vie", say the old folks, it goes to show you never can tell They had a hi-fi phono, boy, did they let it blast Seven hundred little records, all rock, rhythm and jazz But when the sun went down, the rapid tempo of the music fell "C'est la vie", say the old folks, it goes to show you never can tell They bought a souped-up jitney, 'twas a cherry red '53, They drove it down New Orleans to celebrate their anniversary It was there that Pierre was married to the lovely mademoiselle "C'est la vie", say the old folks, it goes to show you never can tell

American motor-and-music city of Detroit. Two centuries after the settlement’s founding, Cadillac’s name was a synonym for mass-produced luxury. He thus has the best name recognition today of any French colonist, and his memory resounds in countless song lyrics.

This new black music represented excess and licentiousness, a direct flouting of traditional moral values.

Music was my entry point into the world of the spirit that New Orleans embodies.

trombone—the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dancers, and getting ideas from the dancers’ gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name; one is literally getting down,

Bechet even briefly played with Duke, and Ellington would take the counterpoint, romance, and beats of New Orleans music and build a compositional cathedral.

Sadie’s smile a metallic gleam of the most expensive, longest-running batch of braces in history, like some well-loved, sentimental Broadway musical.

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【V信83113305】：Tulane University stands as a premier private research institution in the vibrant city of New Orleans. Founded in 1834, it boasts a rich history and a distinctive academic character, heavily influenced by its unique location. While offering a comprehensive range of programs, Tulane is particularly renowned for its exceptional schools of law, medicine, public health, and business. The university places a significant emphasis on community engagement and public service, deeply integrating this ethos into its curriculum. This commitment is exemplified by its innovative programs that tackle real-world challenges, from urban issues to environmental resilience. The lush, oak-lined uptown campus provides a traditional collegiate experience, yet the spirit of New Orleans—its culture, music, and complexity—permeates every aspect of student life, creating an educational environment that is both intellectually rigorous and uniquely captivating.，Tulane毕业证书杜兰大学毕业证诚信办理, 办美国Tulane杜兰大学文凭学历证书, Tulane成绩单杜兰大学毕业证快速办理方式, 杜兰大学留学本科毕业证, 办杜兰大学毕业证成绩单, Tulane毕业证成绩单办理杜兰大学毕业证书官方正版, 定制-杜兰大学毕业证Tulane毕业证书

【V信83113305】：Founded in 1904, Loyola University New Orleans stands as a premier private Jesuit institution, embodying a rich tradition of academic excellence and a commitment to social justice. Nestled in the vibrant Uptown neighborhood, its stunning campus offers a unique blend of historic architecture and modern facilities. The university is renowned for its rigorous liberal arts core, alongside standout programs in music, law, business, and the arts, fostering a close-knit, personalized learning environment. True to its Jesuit motto of developing "men and women for and with others," Loyola cultivates not only intellectual growth but also ethical leadership and a profound dedication to community service. This creates a dynamic educational experience deeply connected to the unique cultural tapestry of New Orleans.，【V信83113305】做今年新版LUNO毕业证,制作美国文凭LUNO毕业证,高端定制LUNO毕业证留信认证,高端原版LUNO毕业证办理流程,在线办理LUNO毕业证offer外壳皮,在线办理LUNO毕业证本科硕士成绩单方法,如何办理LUNO毕业证一比一定制,快速办理LUNO毕业证如何放心,硕士博士学历LUNO毕业证-新奥尔良洛约拉大学毕业证书-真实copy原件,办理美国-LUNO毕业证书新奥尔良洛约拉大学毕业证

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【V信83113305】：Loyola University New Orleans, founded in 1904, is a private Jesuit university known for its strong liberal arts tradition and commitment to social justice. Located in the vibrant city of New Orleans, the university offers a unique blend of academic rigor and cultural richness. With an enrollment of around 4,000 students, Loyola provides a close-knit community where personalized education thrives. Its renowned programs include law, music, business, and the sciences, all infused with Jesuit values of service and ethical leadership. The campus, nestled in the historic Uptown neighborhood, features stunning Gothic architecture and lush green spaces. Students benefit from hands-on learning, research opportunities, and engagement with the city’s diverse arts and nonprofit sectors. Loyola’s emphasis on "educating the whole person" prepares graduates to make meaningful contributions to society. The university’s lively spirit, rooted in New Orleans’ creative energy, fosters both intellectual growth and a deep sense of community.，高仿原版新奥尔良洛约拉大学毕业证-LUNO毕业证书-外壳-offer制作, 留学生买文凭Loyola University New Orleans毕业证-新奥尔良洛约拉大学, Loyola University New Orleans文凭制作服务您学历的展现, LUNO假学历, 购买新奥尔良洛约拉大学毕业证, 美国学历购买, LUNO学位证书办理打开职业机遇之门, 新奥尔良洛约拉大学毕业证购买, 办理新奥尔良洛约拉大学毕业证

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【V信83113305】：Loyola University New Orleans, a distinguished private Jesuit institution, stands as a beacon of academic excellence and community engagement. Founded in 1912, it offers a comprehensive education deeply rooted in the liberal arts tradition and guided by the values of social justice and service. Located in the vibrant Uptown neighborhood, its beautiful campus provides students with the rich cultural tapestry of New Orleans as an extended classroom. The university is renowned for its strong programs in fields like music, business, law, and the sciences, all emphasizing ethical leadership and intellectual exploration. With a close-knit community and a low student-to-faculty ratio, Loyola fosters an environment where students are challenged to think critically and grow as whole persons, preparing them for meaningful careers and lives of purpose.，LUNO毕业证怎么办理-加钱加急, LUNO毕业证在线制作新奥尔良洛约拉大学文凭证书, 办新奥尔良洛约拉大学学历证书学位证书成绩单, 优质渠道办理LUNO新奥尔良洛约拉大学毕业证成绩单学历认证, 1:1原版LUNO新奥尔良洛约拉大学毕业证+LUNO成绩单, 专业办理LUNO新奥尔良洛约拉大学成绩单高质学位证书服务, 新奥尔良洛约拉大学毕业证成绩单-高端定制LUNO毕业证, 哪里买新奥尔良洛约拉大学毕业证|LUNO成绩单, 新奥尔良洛约拉大学留学本科毕业证