Zitat des Tages über New Orleans:
Antoine 'Fats' Domino was a 1950s rock n' roll pioneer, a larger-than-life New Orleans figure, and a role model for the African-American community in a time of deep segregation.
When I was a teenager, I worked in New Orleans for a chef named Paul Prudhomme. That was a very important time in my life as a chef. I developed my palate and learned a lot. And here I am now. I specialize in modern Mexican and contemporary Latin cuisines.
I've been all over the world. I love New York, I love Paris, San Francisco, so many places. But there's no place like New Orleans. It's got the best food. It's got the best music. It's got the best people. It's got the most fun stuff to do.
I was born in New Orleans, and I wasn't allowed to go to the movies.
I love New Orleans.
I didn't date my wife in high school, but she was definitely by far the coolest woman there. She was definitely the most beautiful, but she also marched to the beat of her own drummer. I was in New Orleans 10 years after high school and my friend played matchmaker with us, and that's kind of how we got together.
I come to New Orleans so often that, one day soon, someone's going to declare me a native. I love the food. I love the music. I serve on the board of the New Orleans Jazz Orchestra.
And if citizens of New Orleans who are really contemplating coming back heard that we're really intent upon making the place secure again - regardless of whether the levees held or not - then I think a rebuilding process would really take shape.
This rebuilding of New Orleans gives us the perfect opportunity to see if we're ready to extend the legacy of Dr. King.
So the mayor of New Orleans would have used his own buses had the people had been white?
I was caught on the freeway for hours when Hurricane Katrina devastated New Orleans. The entire city had to be evacuated. I observed lives threatened by catastrophes and a whole range of behaviour. What could people do during a crisis?
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.
My dad loved black singers. So listening to New Orleans music, eventually I wanted to play an instrument.
Since I'm born here, my music will always have some New Orleans elements.
I grew up in New Orleans. I had just moved into my dorm at the University of New Orleans, and I was doing laundry, and my mom called me, like, 'We've got to evacuate. There's a hurricane's coming.'
Man, I was scared. I didn't know what to think. All of a sudden, I got a record climbing the charts, and I'm out in the streets. You know, workin' on the docks. And the first week, it sold something like 40,000 in New Orleans.
Eighty-five percent of us in this country, by the way, live in coastal areas, so again, Katrina and Rita were not just about New Orleans. There were a lot of lessons that the nation can learn from us if they just pay attention to the things that are going on down here.
I needed New Orleans so badly back in 2006, just somebody to believe in me, somebody to care about me.
If New Orleans is allowed to die, a crucial part of the world's music heritage will disappear.
Ain't no place like New Orleans. It's one of kind.
In America, I would say New York and New Orleans are the two most interesting food towns. In New Orleans, they don't have a bad deli. There's no mediocrity accepted.
My father's record collection was full of New Orleans music of all kinds. I used to listen to the radio in New York, and all there was on it at the time was Madonna and Michael Jackson, so it sort of passed me by.
In New Orleans, bounce music was prevalent. That was all they wanted to hear. It was new and trendy, and it was hot, and it was taking off. Artists were coming out of everywhere. They did some great songs, some really catchy, fun songs. That was just the feel of New Orleans music.
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 may well have been the most liberal Deep South city in 1954 because of its large Creole population, the influence of the French, and its cosmopolitan atmosphere.
I did grow up in New Orleans. I grew up right on the lake, right across the levee.
I don't feel at home in New Orleans. I don't feel at home in Austin or L.A. And I just felt immediately at home in northern Australia.
There's a tradition - in New Orleans it still exists - where people play in the street. People play outside of the venues. Food, music, and that cultural exchange, it happens anywhere.
My mother worked for a white family that lived in one of the mansions on the beach. The husband in the family was a lawyer; he worked for a firm in New Orleans.
No matter what setting I play in, I will always be New Orleans. It's one of the only cities where you can hang out with the Marsalis family, the Neville brothers, whoever it might be, and we all play together.
I grew up within New Orleans; my greatest concern is rising water. But I think life is a process of moving items from the 'scared of' to the 'not scared of' list.
The reason New Orleans is still around is because of the celebrations it has inspired since its inception as a city. I'm always excited about the possibility of what might happen. That's what drives us, and I think that's the spirit of New Orleans and the spirit of jazz.
Administration policies seem to tacitly encourage those who live below sea level in New Orleans to relocate permanently, to leave the dangerous water's edge for more prosperous inland cities such as Shreveport or Baton Rouge.
What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.
The condition in New Orleans was changing every day. I said, why don't we appropriate another $10 billion, come back and look at the situation, and do another $10 billion every week, or every 10 days?
I just want to spearhead and lead a new style of New Orleans music.