One of the most special things about the city of New Orleans is how diverse a people we really are. There's been a new generation of individuals that have all grown up together, so I don't really see myself as a White mayor. I've never seen New Orleans as a Black city.
One of the things that's beautiful about New Orleans is how culturally rich we are and how well we have worked together. People call us a gumbo. It's really important that we get focused on the very simple notion that diversity is a strength, it's not a weakness.
It's a common theme around the city of New Orleans; we're resilient people because we have to be. We love this place with all of our heart and all of our soul and I just wanted to try to do something that I could to help make it better.
The people of New Orleans have gotten to rock bottom. And the only way out in my mind is for them to really understand it, and then to really choose to get better.
We're setting up an urban farm for kids on more than 20 acres in New Orleans. We want to make this a world-class educational center for the community.
How can you have the mess we have in New Orleans, and not have had deep investigations of the federal government, the state government, the city government, and the failure of citizenship in the Ninth Ward, where 22,000 people were so uneducated and so unprepared, they literally couldn't get out of the way of a hurricane.
There's a lot of UFO sightings in New Orleans, which isn't really too surprising. There's a lotta crazy people there. The people there lack the intelligence to know what they are seeing, so that's why the UFO's go there.
New Orleans is just a doggone fun place to be.
Half of my family has a deep-rooted connection to the South and Louisiana, and for me, New Orleans is one of our most precious, historic communities: visually, emotionally, artistically.
My office in New York is overflowing with all kinds of cookbooks, and in New Orleans we have a huge culinary library. So yeah, I guess I'm a little bit obsessed.
He learned about life at sixteen, first from Dostoevsky and then from the whores of New Orleans.
I've had a five- or six-year down-spell as a writer, and now that most of the other contracts are cleared or down to the last book, I have a chance to do what I want to do - specifically, something set in New Orleans.
I hope it might help players have confidence in our own ways, and not to be afraid of them, as Bernstein showed - things like hoe-downs, fiddle songs, and the art of improvisation, and the New Orleans funeral tradition, and call-and-response church singing, and the fact that the blues run through everything. And in our relationship to European music, in that we don't have to imitate it, it's a part of us, inseparable.
I was rooming with Jimmy Bowen at the time, doing some gigs, then I went back to New Orleans and played there in '62.
On occassion, slaves in Spanish New Orleans owned slaves, whose labor they could appropriate toward purchasing their own freedom, or whose ownership they could trade as a partial payment on their own freedom.
On the night Test faced the Great One, this is what he'll see... twelve sharpshooters stinging, eleven eyebrows raising, ten spines a'bustin, nine noggins knocking, eight kicks a'kicking, seven punches punching, six suplexes smashing, five seconds of the people chanting The Rock's name... four Rock Bottoms, three People's Elbows, on your two buckteeth, and an ass-kicking all over New Orleans!
It is wonderful to hear of the relief efforts that are finally coming to New Orleans and the rest of the region, but as well all know, it is simply not going to be enough.
Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.
New Orleans is my essence, my soul, my muse, and I can only dream that one day she will recapture her glory. I will do everything within my power to make that happen and to help in any way I can to ease the suffering of my city, my people!
An eighty-nine year old kid from Boston playing a blues in New Orleans takes a lot of chutzpah.
By natural means, as the Lord always operates for the accomplishment of his purposes, means so simple that the thoughtless and unbelieving do not see the manifestation of his power, he brought the Puritans from the old world to New England, the Dutch to New York, the English Cavaliers to Virginia and the French to New Orleans, a combination of races which, paradoxical as it may appear, was just calculated to give us the composite America who made the United States of America what it is, the greatest nation of the world today.
These past years, as we have been recovering and given our city a rebirth, we have been encouraged by our faith, knowledge, and steadfast belief that we will pull through. There will be challenges and setbacks, as there have already been, but we will continue, and we the citizens of New Orleans will prevail in bringing our city back.
New Orleans is of such key importance to American music because historical factors combined to make it the strongest center of African musical practice in the United States, and, cliches aside, that practice really did travel up the Mississippi and did spread overland.
As a youngster I worked the river boats going down the Mississippi and Illinois Rivers, pushing barges to Chicago, then all the way down to New Orleans.
The sporting houses needed professors, and we had so many different styles that... it wouldn't make any difference that you just came from . . . whatever your tunes were over there, we played them in New Orleans.
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