Soulful jazz by a whiskey battered voice, the aroma of rich gumbo from generations old family

In the city of New Orleans emerged one of the most influential music genres in U.S. history. At the time, New Orleans was known for being a "melting pot" of people or rather, a region where people from all over the world came together in one place. This city served as a key seaport in the U.S. allowing for goods to be imported and exported. The purpose of this city was not only strategic to the growth of the country, but also, the atmosphere allowed for the incredible mixing of cultures, customs, and traditions that led to the creation of one of our nations most cherished genres of music: jazz.

One of the most unique things about New Orleans particularly in the 18th and 19th centuries where this image is derived from was race and racism. People were excluded or included, considered inferior or superior based on the race they belonged to. To this end, Indians, and African Americans were classified on the lower end of the race totem pole while whites were seen as superior. Furthermore, one’s stance in society or occupation was determined by their race. The whites were majorly businessmen and land owners presiding over big farms that they owned. The blacks and the Indians were mostly peasants ‘owned’ by the white people and forced to work on the farms of the white people against their will owing to the fact that they were imported from their original residences as slaves (Appleby, Eileen and Neva 18). It is, therefore, clear that race and racism played a significant role in helping define New Orleans as we know it today. Bringing racism to the fore provides a platform upon which it can be alleviated to help

Where there is such a rich social history inside this awesome city of New Orleans, current occupants battle to get by with restricted fiscal and civic resources. As a result of the constrained resources residents believe that it’s hard to win a living and bring kids up in a protected, quiet, beneficial and prospering condition. The Red Flame Hunters are a gathering of African American youth from the seventh Ward drove by the helpful Edward Buckner from the First Huge 7 Social Legacy Division. The First Huge 7 Social and Legacy Division is a consolidated, non-benefit association, which is likewise a buildup group based expressions neighborhood program focus, situated in the seventh ward; one of New Orleans most difficult neighborhoods.

In Zeitoun and When the Levees Broke, it was evident that Hurricane Katrina caused catastrophic damage to the Gulf Coast, especially to New Orleans. Many lives were lost, and the people were both physically and mentally distraught. However, after just six months the people of New Orleans gathered their spirits to celebrate Mardi Gras. This celebration proved that the city’s identity had not been forgotten. New Orleans’ identity was also evident during the hurricane, which highlighted the ways in which people cared for each other. Although New Orleans went through an environmental crisis, the city was resilient enough for the people to remember their history, jazz music, and their connection to their tight-knit community.

In 1703, Jean Baptists Le Moyne Sieur de Bienville lead an expedition throughout the lower region of North America territory, when he settled in what is modern-day Mobile, Alabama to celebrate the first known celebrated Mardi Gras event. Mardi Gras was not commemorated in New Orleans until the 1930s which was about twelve yeas after the city was founded. For a fifty year period in time, New Orleans did not celebrate Mardi Gras as a carnival, but rather through social balls influenced by Louisiana’s governor in the early 1940s, Marquis de Vaudreuil. The first reference of Mardi Gras in carnival style came in 1781, when information surfaced of carnival organization forming in New Orleans. By 1830s, the carnival style became in grained into the holiday’s traditions. In 1873, floats for New Orleans Mardi Gras were completely made in the native instead of across seas in France. In 1875, Governor Warmoth recognized Mardi Gras as an official holiday in Louisiana and from still is to this today. New Orleans’s Mardi Gras has an I testing history, however tourists to the city usually are unaware of the the complete origins story of the carnival and miss the understanding of why the holiday is important to natives. Most tourists tend to be least aware about the significance of religion to Mardi Gras’s culture in New

The one significant message that I would like to point out from this essay is “I believe the soul of this place cannot be easily destroyed by wind and rain. I believe the music here will live and people will continue to dance. I believe in “Darlin’” and “Baby.” I believe in “Where ‘yat’?” and “Makin’ groceries.” I believe in neighborhoods where Mardi Gras Indians sew beaded costumes, kids practice trumpet in the street, and recipes for okra can provide conversation for an entire afternoon.” (Miller, M. 2013) To me, this essay captures the quality of being worthy of attention. It conveys the author's feelings towards New Orleans and in not so many words why he chose to move back. To me, these poignantly fifteen words said drove the point home,

recreation. It is not about restoring New Orleans’ authenticity. It is about preparing an atmosphere that

Normally when tourists or first-time residents come to New Orleans, they have a difficult time understanding the strange city. It looks like no other place in the United States. The first puzzling impression usually comes from the appearance of the French Quarter near many of the city's hotels. It is more than just a few blocks of houses and cottages standing side-by-side, up against the sidewalk. The size of the district startles even those who have traveled in the rest of the nation. Few visitors are accustomed to such a mess of people moving at all hours of the day and night in the very center of the city. They quickly learn that bars have no closing hour, that the food is spicy, and that the music is taking place almost everywhere. And they may also take note that the locals talk weird but few have southern accents.

T-Bois has been in the Falgout family since the 1950’s. Over the years it has been home to a crawfish business, an alligator farm and most importantly, this unique group of people. It has been the central meeting venue of this community for many years. T-Bois Blues Festival, the group’s largest event began as a Good Friday celebration in Larose, Louisiana decades ago. These gatherings, while local and community-oriented, drew in hundreds of people in the first years. The focus of this group was to bring together the locals and unite the essences of cajun culture. Over the years, T-Bois has grown exponentially. Starting out as a humble gathering of close friends, T-Bois has transformed into something much more. Every year, people from around the world travel to this swampy southern estate to experience this unique fusion of blues music, cajun food, untamed wilderness and street art that can only be found in

The most popular crash during the 1920s was not that of the stock market, but rather that of the cymbals in Duke Ellington’s band. When jazz music erupted during the 1920s, it was met with varied opinions and criticisms. It sparked a transformation in our nation that would forever alter the course of human history. Because of jazz’s popularity during this time period, the 1920s will forever be known as “The Jazz Age.” This was an age of moral rebellion, illegal activity, social and familial changes, and loud, cutting-edge music. It was said that jazz music “encouraged vice, sensuality, belligerence, and indiscipline” (Scruton 1). Additionally, jazz was described as “an influence for evil,” according to the 1921 Ladies’ Home Journal (Faulkner 16). This seemingly evil music spread across the United States like wildfire, thanks to the phonograph and the newly-popular radio, present in more than 12 million households, which allowed the central United States to join in on the changes taking place in the coastal regions (“Roaring”). According to Arnold Shaw, “the postwar world came in with a bang of bad booze, flappers with bare legs, jangled morals, and wild weekends,” (4). To some historians, jazz music catalyzed a significant transformation in American morals with changes to women’s fashion, social upheaval, and race relations.

Few parades are more iconic than the Mardi Gras parades of New Orleans. Many may view Mardi Gras as simply a giant parade of debauchery centering around revelry, alcohol, bead throwing and an excuse to bare skin. However, there are also those who do not know that there are many parades rather than one Mardi Gras Parade. These parades are deeply rooted in the history and society of New Orleans and its residents.

Mr. Perkinson was able to meet this objective this quarter as evidenced by him not displaying any self-injurious behaviors. Mr. Perkinson was able to accomplish this through being educated on coping strategies he could utilize. One of Mr. Perkinson’s preferred coping strategies is to sit on the porch. It is noteworthy, while on the porch Mr. Perkinson is being monitored by DSP to ensure his safety.

The two New Orleans subcultures combined African rhythms and European harmony to create a distinctly American form of music. As Weinstock notes, “The multiplicity of ethnic, cultural and musical conditions needed to spawn Jazz was … unique to the United States, and specifically to New Orleans. The necessary philosophical impetus for Jazz,…democracy and freedom of individual expression supported by group interaction, are also American institutions.”

Just as the people and citizens of New Orleans needed to revitalize themselves and adjust to their new situation, the actual city needed to do this as well. Not just through the reconstruction and revisions of the cities and houses, but also through the continuation and revamping of cultural ideas and traditions that were, and still are, what made New Orleans, New Orleans. One popular example of this would be music, as jazz and New Orleans seem to go hand in hand. Historically, jazz was brought to the city by the African Americans after the Southern Reconstruction era, and it has

The theme emerges through portrayals of certain New Orleans residents as distinct from the established community