What we do in New Orleans, man - we party!
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.
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.
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.
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.
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.
Fancy a novel about Chicago or Buffalo, let us say, or Nashville, Tennessee! There are just three big cities in the United States that are 'story cities'- New York, of course, New Orleans, and, best of the lot, San Francisco.
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.
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!
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.
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.
I have held the following jobs: office temp, ticket seller in movie theatre, cook in restaurant, nanny, and phone installer at the Super Bowl in New Orleans.
I fell in love with the place! You know, the people, the bourbon, the music... it's in the air. It's something you can't describe on camera.
There was a lot of stuff happening in Havana that was being heard and appreciated by New Orleans musicians because of this situation. And vice versa.
It was in the Theatre St. Philippe (they has laid a temporary floor over the parquette seats) in the city we now call New Orleans, in the month of September, and in the year 1803.
No other city in the U.S. can divest the visitor of so much money with so little enthusiasm. In Dallas, they take away with gusto; in New Orleans, with a bow; in San Francisco, with a wink and a grin. In New York, you're lucky if you get a grunt.
I moved to Louisiana to become the executive Chef at Commander's Place. And I must say I had some encouragement from friends such as Ella Brennan, the queen of the New Orleans's culinary set, and others. This was very flattering to a young man with a dream. I was only 26 years old.
I forget what the official name of it was, but they did an all-day of roots music - every kind of music you can imagine from around the country - New Orleans Jazz to Indian flute players, R&B, you name it. I met and became good friends with (blues guitar player) Joe Louis Walker. He was on the show.
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.
I was rooming with Jimmy Bowen at the time, doing some gigs, then I went back to New Orleans and played there in '62.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: