The Meters are, I think, the most influential group in our time to come out of New Orleans, to have changed and introduced us all to a way of playing, and to a groove and a level of feel in playing funk-jazz.
Hurricane [Katrina] hit the Gulf Coast and destroyed much of the Gulf Coast - that was an act of God ... Now what happened to New Orleans, that was a complete failure of the federal government. Complete negligence by the feds.
It seemed [there are] musical nodes on the planet where cultures meet and mix, sometimes as a result of unfortunate circumstances, like slavery or something else, in places like New Orleans and Havana and Brazil. And those are places where the European culture and indigenous culture and African culture all met and lived together, and some new kind of culture and especially music came out of that.
In the dining room, next to my collection of colorful papier-mache Mardi Gras float art, hang draperies made of the New Orleans toile fabric that I designed pre-Katrina for Hazelnut.
In Canada I'm not dealing with people who are bringing in baggage, they just get it. But New Orleans will be a bit different. If there's a group of people who have a right to be bitter, it's the people of New Orleans.
There's also the tradition of voodoo, the Haitian magic arts, in New Orleans. And because New Orleans is below sea level, when they bury people in New Orleans, it's mostly above ground. So you have this idea that the spirits are more accessible and can access you more easily because they're not even buried.
I did grow up in New Orleans. I grew up right on the lake, right across the levee.
One of the best moments Ive ever had in New Orleans is seeing Bourbon Street filled on a weekend night not long ago. Just watching the city breathe again.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
While watching the New Orleans Saints (on television), I got angry and punched my bed, and then my remote control flew up and hit me in the head. My girlfriend didn't stop laughing for an hour.
I feel bad sometimes because I secretly hope New Orleans gets nailed again.
In contrast to New Orleans, there was only minimal looting after the horrendous 1995 earthquake in Kobe, Japan - because, when you get down to it, Japanese aren't blacks.
In his speech President Bush said we need to rebuild Iraq, provide the people with jobs, and give them hope. If it works there maybe we'll try it in New Orleans.
My wife is from Laurel, Mississippi, and she has a lot of relatives down in Louisiana, Baton Rouge, and Shreveport, Louisiana. We go down there a lot. We got married in New Orleans. She has a cousin who introduced me to swamp pop, which is sort of zydeco/Cajun music with a little uptempo pop swing. Now I'm a big zydeco fan, I'm a big swamp-music fan.
When I'm in Los Angeles, it's hard to be creative. For me, New Orleans is one of those places that's like a muse. You can hear music on the streets. There's a certain character the city has that inspires you when you're needing to write lyrics and come up with melodies and come up with rhythm and blues. The city has a pulse and it's an inspiration for me.
What city has given the world more in terms of American culture than New Orleans? There is none. Not New York. Not L.A. Not Chicago. Not anywhere, in the sense that African American music has gone around the world twenty times over, and it's continuing to evolve. It is our greatest cultural export.
Well, I'm reading about the battle of New Orleans right now. I've got an eclectic reading list.
I've always been in love with that Delta-flavored music the music that came from Mississippi and Memphis and, especially, New Orleans. When I was 14, I was in a wanna-be New Orleans band in Toronto.
The city of New Orleans showed America what it takes to rebuild a great place. We're all going together, and we're not leaving anybody behind.
There was this rapper from New Orleans, Mystikal, who when I hear his music, I hear myself. Whenever I wanna get hyped, I put on Mystikal.
In New Orleans, where I'm from, the average household income, with two working parents, two kids, a dog and a little fence is $16,000 a year, so $15,000 for a movie sounds pretty good.
I returned to New Orleans and my problems with pari-mutuel windows and a dark-haired, milk-skinned wife from Martinique who went home with men from the Garden District while I was passed out in a houseboat on Lake Pontchartrain, the downdraft of U.S. Army helicopters flattening a plain of elephant grass in my dreams.
I was just mind-blown to find that New Orleans is just so much more fun and interesting than I had ever thought.
Before I went to New Orleans, I was a little scared of New Orleans. I don't know why. I had only been there a few times. Something about it made me feel nervous, knowing a bit about the history.
Once there was Louis Armstrong blowing his beautiful top in the muds of New Orleans; before him the mad musicians who had paraded on official days and broke up their Sousa marches into ragtime. Then there was swing, and Roy Eldridge, vigorous and virile, blasting the horn for everything it had in waves of power and logic and subtlety - leaning into it with glittering eyes and a lovely smile and sending it out broadcast to rock the jazz world.
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