I'd like to move back to 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!
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.
I was just mind-blown to find that New Orleans is just so much more fun and interesting than I had ever thought.
I witnessed a surgery on a patient from New Orleans who was in a car accident. He didn't have any flow of oxygen. He couldn't breathe. He couldn't get a good flow of oxygen, so they did a surgery on him right there, and I was just holding the IV up watching.
There were tactical decisions that I wish I could have done differently: mission accomplished, not revealing my drunken driving charge prior to my run for the presidency, flying over New Orleans on Katrina and the pictures being released and people saying, "he's aloof and doesn't really care."
Well, I'm reading about the battle of New Orleans right now. I've got an eclectic reading list.
New Orleans makes it possible to go to Europe without ever leaving the United States.
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 think New Orleans is the best city in the United States.
'Leonie' did get made and it was an extremely wonderful experience. I got to travel the world. I filmed for 6 months - 3 months in New Orleans and 3 months in Japan.
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.
The Madden NFL franchise holds a special place in popular culture and the cover is a coveted position for players all over the league. I'm honored to be the first cover athlete chosen by Madden NFL fans and it's a great way to cap off an amazing year for the Saints and the city of New Orleans.
I needed New Orleans so badly back in 2006, just somebody to believe in me, somebody to care about me
Where are you from, Mr. Pendergast? Can't quite place the accent.” “New Orleans.” “What a coincidence! I went there for Mardi Gras once." “How nice for you. I myself have never attended.” Ludwig paused, the smile frozen on his face, wondering how to steer the conversation onto a more pertinent topic.
The Society of North American Magic Realists welcomes its newest, most dazzling member, Louis Maistros. His debut novel is a thing of wonder, unlike anything in our literature. It startles. It stuns. It stupefies. No novel since CONFEDERACY OF DUNCES has done such justice to New Orleans. If Franz Kafka had been able to write like Peter Straub, this might have been the result.
The rest of America, with some small exceptions, has been bulldozed and rebuilt and then bulldozed and rebuilt again. Our places have become interchangeable. Here in New Orleans, everything from the architecture to the way in which people eat, the way in which they talk, the way in which they do business, the way in which they dance, the manner in which everything is set to a parade beat, they're all from here. There's no place like it.
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.
New Orleans: The least annoying French place on Earth.
There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.
Everything in New Orleans was competitive. People would always be betting on who was the best and the greatest in everything. That's where the battles of music came in.
The New Orleans bands, you see, didn't play with a flat sound. They'd shade the music. After the band had played with the two or three horns blowing, they'd let the rhythm have it.
The good thing about New Orleans is that, overall, it's an accepting place. It's accepting of eccentricity, it's accepting of excess, it's accepting of color, in the sense of culture, not necessarily in the sense of race.
There is no reason at all why there aren't enough people to guard New Orleans and to help stabilise Baghdad.
The tax incentives are things the music business can emulate. If I own Yesterday by the Beatles and I go to a bank and try to borrow $10,000 and use that song as collateral, they wouldn't know what to do. They would run me out of the bank. Whereas if we get specialized people who know how to appraise the value of intellectual property like songs, catalogs and master recordings, they know how to put some type of value on it. They have this in Nashville and Los Angeles. New Orleans is just starting to get it.
