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Speaker 1: Pushkin. What it takes to feed the soul. What it

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Speaker 1: takes to feed the soul takes a lot. We feed

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Speaker 1: the soul by feeding the spirit. When the spirit do

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Speaker 1: things that we ask them to do, we have to

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Speaker 1: pay them back. So there are certain things that the

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Speaker 1: spirit can't do. Can't eat, can't drink, can't have sex,

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Speaker 1: can't sing, and can't dance. So you do those things

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Speaker 1: in honor when spirit does things for you. So let's begin.

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Speaker 1: This is not Lost. I'm Brendan Francis Nunham. Each episode,

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Speaker 1: a friend and night travel somewhere, see the sun and

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Speaker 1: try to get a local to invite us to dinner.

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Speaker 1: I'm at Louis Armstrong International Airport picking up my buddy

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Speaker 1: TV writer Daniel Henderson. She's just arrived from La resplendent

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Speaker 1: with new purple braids. Looks amazing. This episode New Orleans.

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Speaker 1: I was on it for three days before I wanted

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Speaker 1: to lose. I was losing my mind. As we drive

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Speaker 1: into the city in our rental car, Daniel catches me

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Speaker 1: up in her personal life. After years of being single,

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Speaker 1: she recently joined a dating app. I've never seen more

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Speaker 1: chumps back to back in my life. No I've done

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Speaker 1: some dating apps, and you really do start to get

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Speaker 1: sad about humanity. It's like being at the mall too

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Speaker 1: long or something. It's leg and then the other half

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Speaker 1: of the dudes on there are like fucking paragliding from

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Speaker 1: a helicopter while wearing water skin and there. Yeah, it's like,

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Speaker 1: it's un like, can you calm down? How the hell

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Speaker 1: are we gonna make out? If you're always at the gym?

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Speaker 1: We're jumping out of let's play that game. So New Orleans,

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Speaker 1: what do you think they music New Orleans? I think swamps,

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Speaker 1: you know, like the trees and trays of peach tree

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Speaker 1: and live music. I'm the jazz is what I'm sign

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Speaker 1: the jazz z. We're gonna learn how to make some gumbo,

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Speaker 1: which awesome. Yes right here. And also due to our

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Speaker 1: success in Montreal, we have to do another dinner party.

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Speaker 1: Do not ask, literally, any black people at all in

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Speaker 1: the city lave connotation. Oh my god, god, hey't even

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Speaker 1: think of that. I'm a white guy who just dropped

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Speaker 1: in the town. Have you made miss a dinner? All? Right?

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Speaker 1: But there was a wedding, a wedding second line walking

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Speaker 1: down the street with a brass band behind him. That's

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Speaker 1: natural New New Orleans. And I still got here only

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Speaker 1: like thirty seconds late, so I feel good about it.

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Speaker 1: That's Maurice Carlos Ruffin, native New Orleanians and author of

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Speaker 1: the novel We Cast a Shadow, the satire of racism

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Speaker 1: in the South. I'm so happy to meet you both

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Speaker 1: and share a drink. We're having lunch at the Carousel Bar.

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Speaker 1: It's known for being a past haunt of writers like

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Speaker 1: Tennessee Williams and Hemingway, and also for having a bar

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Speaker 1: like an actual carousel. That's right. Customers slowly rotate around

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Speaker 1: like horses on poles, sipping sasarex fun. But if you

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Speaker 1: drink too much, it means double the spins. A lot

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Speaker 1: of tourists come here and it's like rink and what's

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Speaker 1: just for the sake of drinking toon much now? Because

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Speaker 1: it's gonna feel good where the nation's release valves. I've

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Speaker 1: heard repeatedly that mardi grav comes from this ancient French

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Speaker 1: tradition of sort of France during the sort of surf

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Speaker 1: and peasant era, when the king would say, you know,

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Speaker 1: we've been really oppressing these people really hard. Let let

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Speaker 1: them party for a few days and that way they

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Speaker 1: won't like Roboult and try and kill me. Maybe when

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Speaker 1: they stopped, don't ask when they cut his head off.

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Speaker 1: I don't know. We want to do this all the time.

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Speaker 1: New Orleans. I know this city is contains multitudes. Can

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Speaker 1: he kind of try to summarize it? Well, that is

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Speaker 1: a tall older, but I mean I would say that

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Speaker 1: New Orleans is a town that never forgets his past,

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Speaker 1: and that we have this great history of a culture

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Speaker 1: that is built atop African culture, and it's all mixed

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Speaker 1: with French culture, Spanish culture and other cultures from around

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Speaker 1: the world. Couldn't be the means as well as a

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Speaker 1: huge vie themes population here as well. And um, we're

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Speaker 1: good at storytelling, whether the truth songs or through poetry,

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Speaker 1: and a Fields can write fiction as well, like myself.

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Speaker 1: We're sitting next to this this case that has pictures

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Speaker 1: of Falkner and Tennessee Williams, these old dead white men

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Speaker 1: who who found Burgess here. We mentioned Faulkner, Truman, Capode. No,

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Speaker 1: they all came through here, and there's a reason for that.

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Speaker 1: I mean, you know, if you're in mid twenties century

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Speaker 1: of America and everything is so structured and rigid, and

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Speaker 1: you want to break out and have a chance to

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Speaker 1: be your best version of yourself as an artist. Come

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Speaker 1: down to this bohemian sort of paradise where almost anything goes.

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Speaker 1: And so if the Truman Capodi come down here, we're

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Speaker 1: not gonna mess with you because you like men or

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Speaker 1: you know, whatever the issue is. And so those things

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Speaker 1: are a part of by backstory. There was a TV

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Speaker 1: show a few years ago called Tremaine, and Hermit Roughlins

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Speaker 1: was in it, and there's this famous scene where this

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Speaker 1: like producer or somebody's like, you know, you wanted the

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Speaker 1: players of the trumpet in the entire country. Don't you

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Speaker 1: want to go international? One day? He says, Nah, man,

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Speaker 1: I was gonna play my backyard. That's the New Orleans ethos.

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Speaker 1: It's not beating your competitors. It's encouraging an atmosphere of creativity.

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Speaker 1: All right, appreciative season. I'm kind of nervous good talk

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Speaker 1: to people about Katrina here. You know, it's it's hard

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Speaker 1: to bring out the worst event of somebody's life, but

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Speaker 1: then it's also too important to ignore. Well, you know,

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Speaker 1: I was gonna be twenty six or twenty seven, my

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Speaker 1: Katrina happened, and I probably had a lot of growing

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Speaker 1: to do, and I can tell you that that experience

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Speaker 1: matured me. We lost our house, we lost our cars,

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Speaker 1: and then as the days and weeks passed, I look

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Speaker 1: back and recognize, you know, it been in your city's

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Speaker 1: on the water right now it's all gone. You think

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Speaker 1: what's really important. You think it's the people that you love,

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Speaker 1: and it's what you want to do with your life.

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Speaker 1: And so I doubled down on being a writer. You know,

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Speaker 1: I'm gonna turn by trade, but I said, you know, Maurice,

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Speaker 1: you you're gonna make a book one day. Dude. It

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Speaker 1: took some time, but I got it done. You know interesting,

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Speaker 1: n Orleans has been destroyed like five times. The quarter

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Speaker 1: burned down like twice. We had yellow Favorite pandemics, multiple floods.

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Speaker 1: Look around. We were not destroyed. Our culture is still here.

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Speaker 1: Maurice clearly has a huge appetite for his hometown, figuratively

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Speaker 1: and literally. Can we have some nuts? After flagging down

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Speaker 1: the waiter for Cajun bar nuts, he jokes that food

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Speaker 1: is his spirit animal. Luckily, dinner parties are mine. I'm

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Speaker 1: about to inquire as to whether Maurice could host us

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Speaker 1: for one on Sunday, but Daniel's warning pops in my head,

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Speaker 1: so instead he invite him to our place on Sunday,

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Speaker 1: and we'll be doing the cooking. We're learning how to

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Speaker 1: make make gumbo. Our gumbo is at least one of

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Speaker 1: the most complex meals you can possibly make. The crabs

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Speaker 1: and the filet and the sauces, and I can't make gumbo.

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Speaker 1: Really what it's a saint. I mean, there's a literal

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Speaker 1: saying it's you don't eat everybody's gumble. Thanks for your honesty,

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Speaker 1: So um, you're gonna join us? Of course, excellent. With

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Speaker 1: our first inner party guests secured, Danielle and I hop

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Speaker 1: back in the car and follow the Mississippi River into

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Speaker 1: the swamp lands and cotton fields northwest of the city.

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Speaker 1: If we were going to take advantage of all the

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Speaker 1: New Orleans had to offer, we first need to face

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Speaker 1: the uncomfortable truth of where it all came from. I've

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Speaker 1: never been less excited to go somewhere. So much of

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Speaker 1: this area is possible, or it's here, or the history

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Speaker 1: of it is slavery. Yeah, and so on the one hand,

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Speaker 1: you can't deny that, but on the other hand, how

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Speaker 1: do you why, how and why are you celebrating it?

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Speaker 1: You know, Well, that's what's crazy. I didn't realize that

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Speaker 1: weddings like sority reunions and picnics happen on most of

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Speaker 1: these plantations. I think every plantation there should be some

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Speaker 1: regulations there where they have to have a certain amount

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Speaker 1: of realistic history applied. So if you want to have

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Speaker 1: your sorority reunion there, you're gonna have to know that

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Speaker 1: you're standing on the bones of black people. Yeah, it

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Speaker 1: might be a little bit of downer, it might be

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Speaker 1: a bummer while you're drinking your Hurricanes. But what's your

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Speaker 1: family's relationship in but all of slavery my so, my

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Speaker 1: great great great grandparents were slaves in the Dutch West Indies. Oh,

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Speaker 1: then they did come to the States. They came to

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Speaker 1: America and lived in Virginia, and so there was still slavery.

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Speaker 1: Were they slaves in Virginia or were they throughout your life?

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Speaker 1: Have you It's like, I feel like that there's a

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Speaker 1: way you have to I'm guessing as a black person America,

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Speaker 1: you have to pull your punches and conversations about race

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Speaker 1: with white people. In this sense, because they couldn't not

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Speaker 1: handle the truth, but you can't fully process it been yours.

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Speaker 1: We've never had a conversation about what it's like for

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Speaker 1: me to people treated like we talk about privilege and

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Speaker 1: joke about stuff, but like I have it better than

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Speaker 1: a lot of people in a lot of ways. You know,

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Speaker 1: it's it's you know, I'm light skinned, and like you know,

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Speaker 1: it's I can't pass. But like I definitely white. People

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Speaker 1: have told me that I'm less threatening to them for

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Speaker 1: these reasons, which is fucking absurd soon but um, but yeah,

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Speaker 1: I think that it's it is hard to have that conversation.

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Speaker 1: It's not really like a pulling punches. It's just kind

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Speaker 1: of like like nobody asks me and nobody wants to

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Speaker 1: hear about it. I mean, I want to talk about something,

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Speaker 1: but I think it's kind of like you get one

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Speaker 1: get scared to be like if I bring it up,

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Speaker 1: am I Like? Am I bringing it up wrong? Am

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Speaker 1: I stating the obvious? Like there's just this charge I said,

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Speaker 1: there's impulse so avoided and I know I can talk

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Speaker 1: to about anything, but I'm also like I feel like

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Speaker 1: it's part it's not your responsible. Why why should be

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Speaker 1: every thoughtful. You know, black person's job to educate people. Yeah,

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Speaker 1: it's not. And if you have any questions about white people,

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Speaker 1: I mean, and I'm here for you and us about

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Speaker 1: white ree well that that we're here doing this together,

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Speaker 1: and me too. I really am plantation entrance. We're here.

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Speaker 1: There's a little pond at the end of a dirt

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Speaker 1: road lies the Whitney, an old sugar plantation that's now

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Speaker 1: a rather unique open air museum. Joy, nice to meet you.

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Speaker 1: We're meeting up with director of Communications, doctor Joy Banner.

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Speaker 1: Joy was born and raised a stone's throw from here,

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Speaker 1: but left to get her PhD and teach African American

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Speaker 1: studies in Texas for a few years before deciding to

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Speaker 1: come back. Much sure Friend's surprise when I told him

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Speaker 1: that I was moving back to work at a plantation,

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Speaker 1: they were like, Joy, what's wrong? You need help? And

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Speaker 1: I said, but no, this plantation is different because it

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Speaker 1: focuses on the lives of the enslaved people. And they

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Speaker 1: were like, Joy, that that's even worse. Would sets us

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Speaker 1: apart from different plantations? Is this is a place of memory, right,

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Speaker 1: this is a place of reverence. Notice that we don't

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Speaker 1: start at the big house where the owning family live

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Speaker 1: a right, because it's not about the big house, is

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Speaker 1: about slavery. So this wall, though, has the names that

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Speaker 1: we've collected so far of all the people that were

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Speaker 1: enslaved in West African culture. Person's name tells us a

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Speaker 1: little bit something about who they are. It's a connection

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Speaker 1: to their history. So Samba, for example, is it means

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Speaker 1: a second born son Musa. That's a Muslim name for Moses,

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Speaker 1: so we know that Musa was probably Muslim. So once

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Speaker 1: a person is enslaved, many of them are baptized and

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Speaker 1: they get Christian names. Yesterday you were free. Today you

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Speaker 1: belong today right right, right, property right. Today your property

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Speaker 1: you belong to someone else. But names are not recorded

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Speaker 1: for the purpose of descendants going back and being able

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Speaker 1: to know something about their ancestor. Right. So we can't

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Speaker 1: hop on ancestry dot Com the way other people can.

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Speaker 1: It does not work that way for us. Right, and

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Speaker 1: I we're kind of crossing over this small land bridge

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Speaker 1: over a stream. When I give the tours here, I

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Speaker 1: like stopping people over these spots because it reminds me

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Speaker 1: of the swamps of Louisiana. So the swamps rest behind

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Speaker 1: the sugarcane fields. That water is very important because when

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Speaker 1: it would send me quote unquote Negro dogs after you

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Speaker 1: after you escape, jump in the water, and then they

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Speaker 1: can't track your scent. So this church was built eighteen

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Speaker 1: sixty eight. Oh yeah, ares a white one as a

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Speaker 1: blue one and hang out and there could be a

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Speaker 1: gator or two. Is warm enough that they might come

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Speaker 1: out today? All right, I don't like this interview. I can't.

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Speaker 1: So as we're walking in, we're seeing the pews. On

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Speaker 1: other side, we're also seeing these gorgeous statues of children.

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Speaker 1: These are called the Children of Whitney. Um. The artist

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Speaker 1: is Woodrow Nash. Why did he have an interest in

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Speaker 1: having children rendered? People are sensitive to children and children

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Speaker 1: are innocence. So if you can enslave a child, and

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Speaker 1: you know, again it evokes the brutality of the system. Right,

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Speaker 1: it seems like they're you know, they're oxidizing in such

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Speaker 1: a way that costs also show not just the age

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Speaker 1: of the statue itself, but the wear and tear on

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Speaker 1: the children growing up in this system. These are these

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Speaker 1: are made out of clay. But like you said, you know,

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Speaker 1: these break sometimes, so you see a little chip here.

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Speaker 1: It is you know, reflective of what a human body

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Speaker 1: would have been, you know, the type of trauma that

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Speaker 1: it would have been sustaining. Boy like, they look like

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Speaker 1: structural art peatures on the front pature. They were sugar kettles.

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Speaker 1: So yes, this is where you would process. The sugar

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Speaker 1: cane stalks were brought to the sugar mill and ground

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Speaker 1: down into a pulp. Think about it. They're stirring thick

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Speaker 1: sugar mixture, hot sugar mixtures. The lifespan of someone that

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Speaker 1: comes to a Louisiana plantation and works in those fields

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Speaker 1: is seven to ten years. Seven to ten years. They

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Speaker 1: are working people from can't see. They can't see even

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Speaker 1: chopping down the sugar cane they're having to go through

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Speaker 1: very quickly with very sharp machette knives. So there are accidental,

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Speaker 1: you know, amputations that happen. There are amputations that happened

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Speaker 1: as they're feeding the sugar cane stalked through the grinder.

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Speaker 1: In the sugar house, the crattiest thing is caving to me.

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Speaker 1: It is the square that is cut out in the

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Speaker 1: wall right over the bed um. Can any of you

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Speaker 1: guess why that's there? For the masters of rivers in

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Speaker 1: the house to wash them having sex or no, No,

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Speaker 1: I'm growth that, Danielle. It was my fault for bringing

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Speaker 1: you there. So she was there already. Oh that was

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Speaker 1: super curious. Yes, So there was a family living here

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Speaker 1: until the nineteen eighties, so this is where they would

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Speaker 1: have wired electricity and put in a switch. They lived

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Speaker 1: here into the eighties. So we talk about the plantation

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Speaker 1: system and how slavery will end, but the system doesn't.

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Speaker 1: After slavery, where do you go? You've been, you know,

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Speaker 1: forced to work in the in the sugarcane fields. That's

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Speaker 1: all your skill is going to be sugar, sugar, sugar

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Speaker 1: until but now you're getting charged for the for renting

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Speaker 1: the cabin. It's it's wage work till they're getting paid

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Speaker 1: for it. But you're not serving to right, You're not

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Speaker 1: getting enough to really move off of this plantation. But

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Speaker 1: can you imagine like having a body that's a riddlewood

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Speaker 1: pain and injury and scars for someone else's benefit and privilege.

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Speaker 1: Can you imagine like looking in the mirror and seeing

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Speaker 1: the wrinkles in your face and all and knowing that

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Speaker 1: has been for somebody else, you know, Yeah, I don't

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Speaker 1: talk about rinkles, not yet and brought me there. I'm

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Speaker 1: gonna get a rinkle for somebody else. No, I've not

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Speaker 1: a man, y'all. Do people come here thinking that this

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Speaker 1: is maybe like a place where you look at furniture

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Speaker 1: and have a mental have you encountered like like people

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Speaker 1: who don't know what they're coming to? So we we

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Speaker 1: get we get a range. Right. There are people that

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Speaker 1: have like these private luxury tours and they're looking for more, look,

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Speaker 1: curious experience. I have an inclination to say, yes, we

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Speaker 1: can give you a special tour. And I bring them

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Speaker 1: out into the hurricane fields with those machetes and make

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Speaker 1: them chop, you know, all the way back to the swamps, Like,

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Speaker 1: here's your special luxury tour. Isn't it great? What's up? Oh?

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Speaker 1: So throughout the plantation we have bells to ring in

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Speaker 1: honor of the people that live, died, and labored here.

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Speaker 1: In their time, they would wake up at the tolling

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Speaker 1: of that bell, knock off for lunch with that bell,

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Speaker 1: and then come in from the fields at that bell,

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Speaker 1: And so we use it as a way of remembering them.

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Speaker 1: Thank you. Danielle and I are mostly silent on our

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Speaker 1: drive back to New Orleans. We watch as the setting

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Speaker 1: sun turns u swamp and sky incandescent shades of orange

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Speaker 1: and purple. Gradually, the fields and Spanish moss are replaced

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Speaker 1: by concrete and billboards as the highway turns to city streets. Dude,

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Speaker 1: do it? Whoa Jesus? Hello? Kill somebody think it's like

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Speaker 1: a bottle Jesus. This hole is so deep you can

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Speaker 1: only see the top of the Oh my god that

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Speaker 1: you just drop the Hello Hello. We're in the French

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Speaker 1: Quarter again. Meeting up with Daniel's old friend Becca Havens.

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Speaker 1: Becca's originally from New York City, but has lived in

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Speaker 1: New Orleans for over a decade. She's also the daughter

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Speaker 1: of the late great musician Richie Havens, a fixture of

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Speaker 1: the local jazz fest But I'm too shy to ever

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Speaker 1: bring that up. It's beautifully disordered. It's funky, it's rundown,

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00:21:12,236 --> 00:21:14,516
Speaker 1: it's old, it's adorable, and it's weird and people walk

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Speaker 1: around and don't wear pants and stuff, and it's just

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Speaker 1: like I just it's awesome. Let's get off This is

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Speaker 1: a major beaten paths. Let's just get off it. Since

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00:21:22,276 --> 00:21:24,556
Speaker 1: Bourbon Street is starting to pile up with drunk tourists,

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Speaker 1: we decided to check out some of the quieter side streets.

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Speaker 1: I'm like loving this raw iron now. I feel like

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Speaker 1: I'm in a movie set right now. It doesn't feel real.

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Speaker 1: I mean, look at it, this is pretty dreamy. The

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Speaker 1: foggy neighborhood has lit up with gas lanterns, and the

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Speaker 1: houses with their iron balconies are painted peach, white and blue.

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Speaker 1: A New New Orleans is singular. But have there been

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Speaker 1: any Southern trades that you've taken you some time to

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00:21:47,716 --> 00:21:52,516
Speaker 1: adjust to or just that use them? Tell me more.

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00:21:53,276 --> 00:21:59,836
Speaker 1: That's Danielle crashing into a steel wall. Words people are

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Speaker 1: comfortable using in my presence. I mean, it's just if

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Speaker 1: you look it up, like every major avenue here is

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Speaker 1: named after someone terrible. What are we gonna do? Rename everything? Yes,

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Speaker 1: that's exactly what you're supposed to do, is rename it all.

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Speaker 1: And people just really don't want to do that. The

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Speaker 1: racism and guns, people just carry them like I got

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Speaker 1: my gun just in case. Now, tell me, what is

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00:22:21,436 --> 00:22:24,156
Speaker 1: the smell that we're smelling? Isn't that something? Yeah? You

335
00:22:24,236 --> 00:22:28,516
Speaker 1: can be the powerful funk is the podcasting smellow vision,

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00:22:29,076 --> 00:22:32,196
Speaker 1: because that's that's a funk. We just passed a train.

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00:22:34,756 --> 00:22:43,036
Speaker 1: What is the Nicks fucking bar? Two eggnog dacheries in

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Speaker 1: a hurricane? Cheers, cheers up, I was I've been single

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Speaker 1: for five years, almost six years. I refuse to engage

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Speaker 1: with this culture men have in their bio. I brushed

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00:22:58,836 --> 00:23:02,036
Speaker 1: my teeth and I take a shower every day, as

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00:23:02,076 --> 00:23:04,636
Speaker 1: like the things you need to know about that that's

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00:23:04,676 --> 00:23:07,916
Speaker 1: a very low bar. You feel better that you're married now. Yes,

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00:23:08,356 --> 00:23:13,076
Speaker 1: straight men are in crisis and it's a tread easy

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Speaker 1: to be us. If you've been taking a shower, is

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Speaker 1: a beautiful thing to behold. You don't get laid. Yeah,

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Speaker 1: I'm down with that plan. I mean, I don't have

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Speaker 1: a horse in this race anymore. I will withhold sex

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Speaker 1: from every man in America to improve a feminist point.

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Speaker 1: It's it's bleak. It's bleak. We talk about the woes

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Speaker 1: and modern love for a little while longer, and then

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Speaker 1: decide to call tonight out, but not before I ask

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Speaker 1: Becca if she'll join us for our gathering on Sunday?

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Speaker 1: Will there be food? We're making gumbo? That is no

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Speaker 1: small undertaking. This is okay? Oh yeah, I'm going Yes,

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00:23:57,956 --> 00:24:06,796
Speaker 1: the sounds of a home that went somewhere else, eggnog, Dachris,

357
00:24:07,436 --> 00:24:11,676
Speaker 1: carousel bars hard, reality is of slavery. One day into

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Speaker 1: our trip in the Big Easy, and this place is

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Speaker 1: already proving to be more rich and complex than we'd

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Speaker 1: ever imagined. And I'm starting to wonder if I've also

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00:24:18,956 --> 00:24:23,396
Speaker 1: underestimated the rich complexity of its signature dish. Drifting off

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Speaker 1: to sleep, I'm haunted by the image of a pothole

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Speaker 1: the size of a kick drum, and it's filled with gumbo.

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Speaker 1: Let's go ahead and license candles. Voodoo is like going

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00:24:51,316 --> 00:24:54,556
Speaker 1: to your grandmother's house. I'm going to the cemetery, talking

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Speaker 1: to your dear relatives. You believe with your ancestors, teach you.

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Speaker 1: You know, it's a little bit different than in Haiti,

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Speaker 1: you know, which is by man. But New Orleans food

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00:25:04,356 --> 00:25:06,836
Speaker 1: is ruled by women. So if there's any guys out

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Speaker 1: there listening, welcome to our world. Welcome. While I'm making

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Speaker 1: my way across town to explore the city's Tremay neighborhood,

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Speaker 1: Danielle's at the Historical Voodoo Museum about to get a

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Speaker 1: tarot reading from Priestess Madam Cinnamon Black Tell me, what

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00:25:25,276 --> 00:25:26,756
Speaker 1: makes you want to have a reading. Let's see what

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00:25:26,876 --> 00:25:33,876
Speaker 1: the nature of your calling is. I've been blocked from love.

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Speaker 1: I've kind of blocked myself from love because I got

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Speaker 1: divorced a few years ago, and i feel very guilty

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Speaker 1: about that. And I'm curious to know if, because I've

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00:25:48,596 --> 00:25:51,676
Speaker 1: been kind of regenerating myself and taking a few years

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00:25:51,756 --> 00:25:53,396
Speaker 1: to care for myself, if I'm in a space now

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Speaker 1: to let more love into my life. I always want

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Speaker 1: to warn you if these cars are not like what

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00:26:00,156 --> 00:26:03,236
Speaker 1: you wanted to be, I can't change they are what

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00:26:03,316 --> 00:26:08,196
Speaker 1: they are. Okay, Please choose one card for me, stad

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00:26:09,156 --> 00:26:11,396
Speaker 1: call for what cards you choose, and remember, if you

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00:26:11,476 --> 00:26:14,876
Speaker 1: study long, you'll study wrong. You should always follow your

387
00:26:14,916 --> 00:26:17,996
Speaker 1: first mind because that's when your answerstors. So speaking to you,

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Speaker 1: thank you. You have three cards on the table, which

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Speaker 1: we call pass, Present, Future. What store would you like

390
00:26:33,516 --> 00:26:38,196
Speaker 1: to open? First? Past? My grandma used to say, going

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Speaker 1: into the past, it's like looking at the old DVD movie.

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Speaker 1: You always see something different within the end. It's always

393
00:26:44,836 --> 00:26:47,836
Speaker 1: ends up the same. It's lovely. I'm going to pick

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00:26:47,916 --> 00:26:58,916
Speaker 1: up the car. Well. Danielle is exploring her past with

395
00:26:59,036 --> 00:27:01,996
Speaker 1: Madam sinnemon singing calls out to me from the windows

396
00:27:01,996 --> 00:27:07,596
Speaker 1: of Saint Augustine Catholic Church, for I go inside and

397
00:27:07,716 --> 00:27:09,396
Speaker 1: meet someone who has their own way of talking to

398
00:27:09,476 --> 00:27:14,276
Speaker 1: the spirits. Way of the Law. Cathy Lewis has been

399
00:27:14,316 --> 00:27:17,596
Speaker 1: in the church's choir for over forty years. My mother

400
00:27:17,676 --> 00:27:19,996
Speaker 1: always sank to us when she would be when it

401
00:27:20,156 --> 00:27:23,716
Speaker 1: was time for our nap. She would rock us like

402
00:27:23,916 --> 00:27:28,236
Speaker 1: that and she would start off singing the blues, you know,

403
00:27:28,396 --> 00:27:30,636
Speaker 1: BB King or somebody, and the next thing, you know,

404
00:27:31,396 --> 00:27:36,516
Speaker 1: guide me all my gree hold, and the rest of

405
00:27:36,596 --> 00:27:40,716
Speaker 1: it would wind up being church music. You don't know

406
00:27:41,276 --> 00:27:43,916
Speaker 1: how the Holy Spirit is going to work in you.

407
00:27:46,156 --> 00:27:50,876
Speaker 1: You could feel a gusha wyn come in. You get chills.

408
00:27:52,916 --> 00:27:58,156
Speaker 1: It's an experience that you really really can't describe, but

409
00:27:58,276 --> 00:28:02,076
Speaker 1: it's a beautiful feeling and you don't want to come

410
00:28:02,156 --> 00:28:08,396
Speaker 1: down from it. Prepare you the way of the Law,

411
00:28:09,876 --> 00:28:16,516
Speaker 1: repegging the way, passing, glazing over the cart, slowly getting

412
00:28:16,556 --> 00:28:28,156
Speaker 1: over the hot candle, calling up the present is the

413
00:28:28,276 --> 00:28:33,276
Speaker 1: emperor card. The emperor is one who's in charge, who

414
00:28:33,356 --> 00:28:37,076
Speaker 1: knows what he wants, He's been through the struggle. He

415
00:28:37,516 --> 00:28:39,996
Speaker 1: is one who is said to be the ruler in

416
00:28:40,156 --> 00:28:47,556
Speaker 1: charge of his own destiny. Honestly, I don't go to

417
00:28:47,676 --> 00:28:50,156
Speaker 1: church much anymore, but it's somebody who listens to music.

418
00:28:50,316 --> 00:28:55,796
Speaker 1: I know. I'm sorry you slapped me, but but music

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00:28:55,916 --> 00:28:58,916
Speaker 1: to me provides some side of spirituality. Like I feel

420
00:28:59,356 --> 00:29:01,636
Speaker 1: when I listen to it, it feels like it articulates

421
00:29:01,676 --> 00:29:04,876
Speaker 1: emotions I wouldn't. I don't have just walking through the

422
00:29:04,916 --> 00:29:11,716
Speaker 1: world normally. If you listen to Rachel's it came from

423
00:29:11,756 --> 00:29:16,156
Speaker 1: the church, from his church bringing, and and it accused

424
00:29:16,196 --> 00:29:19,836
Speaker 1: him of blasphemy. I got a woman w over town.

425
00:29:20,276 --> 00:29:23,316
Speaker 1: That's from the old gospel song I Gotta save you,

426
00:29:24,236 --> 00:29:27,756
Speaker 1: I Gotta save you. You know, do you think that's

427
00:29:27,796 --> 00:29:33,836
Speaker 1: how God communicates with music? He communicating all kind of ways.

428
00:29:34,796 --> 00:29:38,276
Speaker 1: One time I was working at the common and I

429
00:29:38,356 --> 00:29:41,156
Speaker 1: saw this little piece of paper. Something was on my mind,

430
00:29:41,316 --> 00:29:44,036
Speaker 1: you know, bothering me, and this little peace scrap of

431
00:29:44,156 --> 00:29:47,996
Speaker 1: paper fell out the trash basket and said, be not afraid.

432
00:29:50,436 --> 00:29:54,716
Speaker 1: If you're open and paying attention, He's gonna communicate with

433
00:29:54,796 --> 00:30:03,156
Speaker 1: you some kind of way. There's only one card enough future.

434
00:30:05,796 --> 00:30:07,516
Speaker 1: Some people want to know what's on the other side

435
00:30:07,556 --> 00:30:10,276
Speaker 1: of the mounain. Other to say whatever it is, leave

436
00:30:10,316 --> 00:30:15,316
Speaker 1: it over there today, My dear you get to find

437
00:30:15,396 --> 00:30:21,956
Speaker 1: out now. You know I told you once before, I

438
00:30:22,116 --> 00:30:25,276
Speaker 1: warn you, I would warn you again if these cards

439
00:30:25,276 --> 00:30:26,876
Speaker 1: are not like what you want them to be, I

440
00:30:26,956 --> 00:30:32,556
Speaker 1: can't change on account. Two. We're gonna turn the cards

441
00:30:32,596 --> 00:30:37,716
Speaker 1: over together at the same time. My heart is beating.

442
00:30:37,796 --> 00:30:54,436
Speaker 1: Is a security? Are you ready? One? And two? Oh

443
00:30:54,556 --> 00:31:04,796
Speaker 1: my gosh. The Six of Cups show us a picture

444
00:31:04,796 --> 00:31:12,516
Speaker 1: of a couple sitting compassionately close sleep. The love in

445
00:31:12,596 --> 00:31:15,236
Speaker 1: your life not being like it's supposed to be is

446
00:31:15,236 --> 00:31:17,036
Speaker 1: if you look at this picture here is I'm looking

447
00:31:17,076 --> 00:31:19,636
Speaker 1: at it. You're not even just looking at it. Your

448
00:31:19,676 --> 00:31:24,116
Speaker 1: mind is elsewhere on what you're doing. There is a

449
00:31:24,156 --> 00:31:27,716
Speaker 1: man out there for you. He sees you, but you're

450
00:31:27,756 --> 00:31:35,276
Speaker 1: just not looking at him. What do you think New

451
00:31:35,396 --> 00:31:40,556
Speaker 1: Orleans can teach us how we interact with one another?

452
00:31:42,196 --> 00:31:47,236
Speaker 1: Sometimes it's just like one big neighborhood. Hey darling, how

453
00:31:47,396 --> 00:31:51,476
Speaker 1: you doing? You know, like one big family, one big community,

454
00:31:53,236 --> 00:31:57,436
Speaker 1: from the heart to the low. I might just look

455
00:31:57,476 --> 00:31:58,916
Speaker 1: at you, say why don't you come by my house

456
00:31:58,956 --> 00:32:02,316
Speaker 1: and get some gumble and hoping you do, say that

457
00:32:02,596 --> 00:32:05,156
Speaker 1: you're reading my mind. You're reading my mind. I'm gonna

458
00:32:05,196 --> 00:32:08,756
Speaker 1: take in a class. When I made my first gumble

459
00:32:09,236 --> 00:32:18,516
Speaker 1: is a pure wreck, pure wreck? What because Gumbo's a

460
00:32:18,716 --> 00:32:23,556
Speaker 1: dish that you build on. If you burn it, you

461
00:32:23,676 --> 00:32:26,316
Speaker 1: gotta drove out the way and start a little again,

462
00:32:27,276 --> 00:32:40,716
Speaker 1: you know, So would you try my gumbo? The duality

463
00:32:40,756 --> 00:32:43,556
Speaker 1: of New Orleans is, you know, you part of your

464
00:32:43,596 --> 00:32:45,116
Speaker 1: brains out on Saturday, but you get up and go

465
00:32:45,156 --> 00:32:47,876
Speaker 1: to church on Sunday morning. So you know, it's that

466
00:32:48,516 --> 00:32:52,276
Speaker 1: pleasure and pain that you know, good and evil and

467
00:32:52,516 --> 00:32:54,636
Speaker 1: music is a soundtrack for both of those, you know,

468
00:32:54,756 --> 00:32:57,916
Speaker 1: for both sides of that coin. Well destrolls the quarter

469
00:32:58,036 --> 00:33:00,876
Speaker 1: processing or voodoo reading. I'm nearby on the corner of

470
00:33:00,956 --> 00:33:04,676
Speaker 1: Frenchman and Esplanade, hang out with music journalists Keith Sparrow, Jay,

471
00:33:05,076 --> 00:33:10,156
Speaker 1: Why Yeah, Why, James Andrews Great Trumpet, Blara Chriss. Keith

472
00:33:10,316 --> 00:33:12,556
Speaker 1: is the church key that unlocks all of the music

473
00:33:12,636 --> 00:33:14,596
Speaker 1: in this town. He used to be on a first

474
00:33:14,676 --> 00:33:17,396
Speaker 1: named basis with Fats Domino, which is fun if you

475
00:33:17,476 --> 00:33:21,076
Speaker 1: think about it. Is music confused like in the education system,

476
00:33:21,236 --> 00:33:23,556
Speaker 1: or is it just really coming from the ground up

477
00:33:23,636 --> 00:33:25,676
Speaker 1: in this town? Or well, you know, New Orleans is

478
00:33:25,716 --> 00:33:28,436
Speaker 1: one of those rare places where it's still cool to

479
00:33:28,516 --> 00:33:31,276
Speaker 1: play a trumboe you know, like so, I mean, yeah,

480
00:33:31,276 --> 00:33:32,996
Speaker 1: so kids come up here and you know, the marching

481
00:33:33,036 --> 00:33:35,156
Speaker 1: bands are considered cool. So you're out there with your

482
00:33:35,236 --> 00:33:37,316
Speaker 1: kids and you hear these brass bands that have this

483
00:33:37,756 --> 00:33:40,436
Speaker 1: kind of beat. So all that music is kind of

484
00:33:40,516 --> 00:33:47,916
Speaker 1: imprinted on your brain from an early age. There's a sense,

485
00:33:48,116 --> 00:33:50,996
Speaker 1: I think of authenticity, you know, of being a New

486
00:33:51,156 --> 00:33:53,716
Speaker 1: Orleans musician. The music just has a different feel. You know,

487
00:33:53,796 --> 00:33:55,516
Speaker 1: you have to be here, you have to drink the

488
00:33:56,076 --> 00:34:00,156
Speaker 1: questionable water and you know, soaking the humidity over the summers.

489
00:34:00,236 --> 00:34:02,356
Speaker 1: I mean, there is a there is an intangible quality

490
00:34:02,396 --> 00:34:04,716
Speaker 1: that you get from playing here. All right. So here

491
00:34:04,756 --> 00:34:09,276
Speaker 1: we are at the Blue Nile Carbon. He's got guys

492
00:34:09,316 --> 00:34:14,956
Speaker 1: are here doing up podcast. Everyone said, if we had

493
00:34:14,996 --> 00:34:19,636
Speaker 1: to stop by and see you, Oh yep, that's the

494
00:34:19,876 --> 00:34:23,076
Speaker 1: Kermit Ruffins, the trumpet player. Maurice told us about who's

495
00:34:23,076 --> 00:34:26,276
Speaker 1: happy to play in his own backyard tonight. His backyard

496
00:34:26,356 --> 00:34:28,596
Speaker 1: is the famous Blue Nile Club. Real quick, where are

497
00:34:28,596 --> 00:34:30,796
Speaker 1: you gonna play tonight? For we never know what we're

498
00:34:30,836 --> 00:34:32,836
Speaker 1: gonna do. Well, we always thought it was some New

499
00:34:32,956 --> 00:34:35,356
Speaker 1: Orleans flavor and then may do a little bit of

500
00:34:35,436 --> 00:34:37,956
Speaker 1: hip hop and be bop in between, ending with some

501
00:34:38,076 --> 00:34:40,396
Speaker 1: good old second laf. We already got our wristbands. We're

502
00:34:40,396 --> 00:34:53,996
Speaker 1: gonna got in the wood. You guys coming in. It

503
00:34:54,116 --> 00:34:56,236
Speaker 1: doesn't take long for Kermit to cast a spell over

504
00:34:56,316 --> 00:34:59,716
Speaker 1: the crowd. I started swaying along to the music, and

505
00:34:59,836 --> 00:35:02,556
Speaker 1: before we know it, he's played two full sets and

506
00:35:02,676 --> 00:35:06,316
Speaker 1: it's one am. It doesn't feel like one hand though.

507
00:35:06,956 --> 00:35:09,996
Speaker 1: New Orleans is like a big casino, no clocks and

508
00:35:10,156 --> 00:35:13,156
Speaker 1: no windows. Time escapes you, and that's how it works here.

509
00:35:13,276 --> 00:35:15,116
Speaker 1: But I, on the other hand, I am well aware

510
00:35:15,116 --> 00:35:16,436
Speaker 1: of the time because I know what time my kids

511
00:35:16,476 --> 00:35:18,516
Speaker 1: are going to be growing up. Tomorrow morning, I will,

512
00:35:18,636 --> 00:35:20,516
Speaker 1: I think, call it a night here on Frenchman Street.

513
00:35:20,596 --> 00:35:22,876
Speaker 1: All right, so tomorrow we're gonna throw a dinner party.

514
00:35:22,996 --> 00:35:26,756
Speaker 1: Would you think about joining us. We're learning how to

515
00:35:26,756 --> 00:35:33,236
Speaker 1: make gumbo. You know, I am a little bit uneasy

516
00:35:33,356 --> 00:35:37,956
Speaker 1: with the idea of first time gumbo makers, and I

517
00:35:38,076 --> 00:35:40,956
Speaker 1: think I have a family commitment. Very diplomatic. Off, you're

518
00:35:41,036 --> 00:35:45,756
Speaker 1: very diplomatic. Well, good luck with it, thank you. As

519
00:35:45,796 --> 00:35:48,956
Speaker 1: I head off into the early morning hours. My confidence

520
00:35:48,996 --> 00:35:51,356
Speaker 1: in our gumbo enterprise Is that an all time low?

521
00:35:52,196 --> 00:35:54,276
Speaker 1: Why was I so sure my cooking abilities were a

522
00:35:54,356 --> 00:35:57,516
Speaker 1: match for a regional specialty because I'd once cooked spaghetti

523
00:35:57,556 --> 00:36:01,556
Speaker 1: in Brooklyn? Who was I to think I could parachute

524
00:36:01,596 --> 00:36:05,356
Speaker 1: into this legendary city and nail at signature dish? Was

525
00:36:05,436 --> 00:36:07,596
Speaker 1: I know better than a sorit having a reunion and

526
00:36:07,676 --> 00:36:12,036
Speaker 1: a plantation. I'm about to google and Dewey sausage when

527
00:36:12,076 --> 00:36:13,876
Speaker 1: I hear a familiar voice from the balcony of an

528
00:36:13,956 --> 00:36:19,436
Speaker 1: upstairs bar. I head up and find Danielle with a

529
00:36:19,476 --> 00:36:22,796
Speaker 1: couple of kids in their twenties. Daniel Danielle, what has

530
00:36:22,796 --> 00:36:27,676
Speaker 1: happened over here? Um? I saw this beautiful couple across

531
00:36:27,756 --> 00:36:31,596
Speaker 1: the street, and I encourage them to kiss my shouting

532
00:36:31,676 --> 00:36:34,676
Speaker 1: at them like literally forced us. And then for some reason,

533
00:36:34,716 --> 00:36:37,596
Speaker 1: the entire bar forced us too. I want to make

534
00:36:37,676 --> 00:36:40,476
Speaker 1: sure that the youth of the America. No, they should

535
00:36:40,476 --> 00:36:42,716
Speaker 1: be making out as much as possible. You're having fun.

536
00:36:43,036 --> 00:36:45,636
Speaker 1: I'm having a fucking blast. I'm shouting people for a

537
00:36:45,676 --> 00:36:56,436
Speaker 1: balcony Roman Coakes and tequila. I was the one who

538
00:36:56,516 --> 00:37:01,596
Speaker 1: was gonna get drunk this episode. Oh wait, you're the drummer.

539
00:37:01,956 --> 00:37:03,876
Speaker 1: You're so cute You're like a cute little wares of

540
00:37:03,916 --> 00:37:07,316
Speaker 1: wall though. He thanks the guy walking away with the tuba.

541
00:37:07,756 --> 00:37:10,476
Speaker 1: The guy just ran out with the tuba. Look at you.

542
00:37:10,556 --> 00:37:13,436
Speaker 1: You're like a beautiful lion. Get in there and have

543
00:37:13,556 --> 00:37:16,476
Speaker 1: some fucking fun. Look at this lion. Whereas some people

544
00:37:16,556 --> 00:37:21,116
Speaker 1: get aggressive when they drink tonight, Danielle just seems aggressively loving,

545
00:37:21,236 --> 00:37:29,236
Speaker 1: angel faith live, gorgeous, beautiful people. You are gornil. All

546
00:37:29,276 --> 00:37:31,356
Speaker 1: I'm here is to make sure that you're making out tonight.

547
00:37:31,876 --> 00:37:34,316
Speaker 1: What's your type? How can I help you? I can't

548
00:37:34,356 --> 00:37:38,516
Speaker 1: help you have fun and wear condom? Alright, you do

549
00:37:38,716 --> 00:37:43,396
Speaker 1: not need more, baby you. I'm signing up. I'm signing off.

550
00:37:43,556 --> 00:37:47,836
Speaker 1: Don't sign off. Come here hand. Cannot believe you're not

551
00:37:47,956 --> 00:37:51,676
Speaker 1: walking down the street with someone. My girlfriend's out, Call

552
00:37:51,756 --> 00:37:54,476
Speaker 1: her and take her out for a drink. You're tiredness

553
00:37:54,516 --> 00:38:00,276
Speaker 1: to work, you're too young to be bucking wired up. Yeah,

554
00:38:00,276 --> 00:38:02,756
Speaker 1: I think I gotta go sleep. Oh it's be so bad.

555
00:38:02,796 --> 00:38:30,276
Speaker 1: What are you looking at? You want to go? It's Sunday,

556
00:38:31,036 --> 00:38:34,916
Speaker 1: our last day in town. Danielle feels like death warmed over.

557
00:38:35,836 --> 00:38:37,836
Speaker 1: So it's fitting that we're visiting one of the city's

558
00:38:37,876 --> 00:38:42,076
Speaker 1: famous cemeteries. This is Saint Louis number two. You go

559
00:38:42,236 --> 00:38:44,156
Speaker 1: that way to gate lock on that side, I keep

560
00:38:44,236 --> 00:38:48,476
Speaker 1: them gatelock. Could it dying to get in here? You

561
00:38:48,636 --> 00:38:51,836
Speaker 1: said that before you got that right, y'all be capped,

562
00:38:52,316 --> 00:38:54,916
Speaker 1: see you later. The crypts are above ground here because

563
00:38:54,956 --> 00:38:58,236
Speaker 1: we're below sea level summer, as high as twelve feet tall,

564
00:38:58,276 --> 00:39:00,476
Speaker 1: and have grass growing on top waving in the wind.

565
00:39:01,476 --> 00:39:04,956
Speaker 1: Sounds from the nearby highway. Ricochets are the gravestones. I

566
00:39:05,116 --> 00:39:08,436
Speaker 1: like this one because it says widow Marie MiG Lean.

567
00:39:09,596 --> 00:39:11,076
Speaker 1: I just like that they have widow in there and

568
00:39:11,156 --> 00:39:13,836
Speaker 1: she died at a hundred years old. And at the

569
00:39:13,876 --> 00:39:20,596
Speaker 1: bottom it says regret, regret, just regret. I'm going to

570
00:39:20,676 --> 00:39:26,956
Speaker 1: have regret, but it's gonna have an s no matter

571
00:39:27,076 --> 00:39:30,196
Speaker 1: what happens in my love life. I'm one hundred percent

572
00:39:30,236 --> 00:39:37,316
Speaker 1: having widow. Danielle Henderson put on years ago an X

573
00:39:37,436 --> 00:39:39,876
Speaker 1: of mine. She had just broken up with a person

574
00:39:39,956 --> 00:39:42,356
Speaker 1: she was going to be married to, and I was like,

575
00:39:42,436 --> 00:39:44,516
Speaker 1: I'm really sorry that happened. She's like, oh, it's just natural.

576
00:39:44,676 --> 00:39:46,596
Speaker 1: She's like, men are afraid of death, so they're afraid

577
00:39:46,636 --> 00:39:50,396
Speaker 1: to commit. Like if you settle that's one step closer

578
00:39:50,436 --> 00:39:51,996
Speaker 1: to death. Went to you like, this is where I live,

579
00:39:52,116 --> 00:39:54,796
Speaker 1: this is my family than the next couple stops down

580
00:39:54,836 --> 00:39:59,556
Speaker 1: the road death. As someone who is not committed and

581
00:39:59,716 --> 00:40:02,436
Speaker 1: as a certain age, that phrase has stuck with me.

582
00:40:03,996 --> 00:40:06,196
Speaker 1: I feel like New Orleans in some way makes the

583
00:40:06,316 --> 00:40:10,076
Speaker 1: fundamentals of life more vivid, which are like pleasure and

584
00:40:10,356 --> 00:40:13,436
Speaker 1: then the ultimate sadness. I think it's a good way

585
00:40:13,436 --> 00:40:18,436
Speaker 1: to put it. What is this the three x's that's

586
00:40:18,436 --> 00:40:23,396
Speaker 1: a marker of a voodoo grave? O the voodoo reading.

587
00:40:24,276 --> 00:40:28,836
Speaker 1: Do you think that is affecting your cemetery experience here now? Like? Actually,

588
00:40:28,876 --> 00:40:30,636
Speaker 1: if anything, it's making me a little bit more calm.

589
00:40:31,796 --> 00:40:35,076
Speaker 1: Madam Cinnamon made it a point to tell me before

590
00:40:35,116 --> 00:40:38,396
Speaker 1: she turned over a couple of the cards that you know,

591
00:40:38,556 --> 00:40:40,916
Speaker 1: she can't control what the card says, but if it's

592
00:40:40,956 --> 00:40:43,596
Speaker 1: something that I see that I don't like, that it's

593
00:40:43,676 --> 00:40:46,636
Speaker 1: up to me to change it. That's interesting. The first

594
00:40:46,676 --> 00:40:48,876
Speaker 1: part sounds anxiety producing, like I'm gonna flip this and

595
00:40:48,916 --> 00:40:50,716
Speaker 1: it's going to say something that could be really eerie,

596
00:40:51,516 --> 00:40:53,796
Speaker 1: but it also she then affirms you by saying you

597
00:40:53,836 --> 00:40:56,676
Speaker 1: have agency. Yeah, it was really it was a very

598
00:40:56,756 --> 00:41:00,156
Speaker 1: intense reading. I mean, I keep saying that, but I mean,

599
00:41:00,196 --> 00:41:02,196
Speaker 1: obviously it was an intense reading because I love you

600
00:41:02,276 --> 00:41:03,956
Speaker 1: and I've party with you, and I've never seen you

601
00:41:04,076 --> 00:41:07,316
Speaker 1: party like you partied last night. That was a little

602
00:41:07,356 --> 00:41:11,116
Speaker 1: bit off off the rails. He I made so many friends,

603
00:41:11,476 --> 00:41:13,476
Speaker 1: you did. You made this world better. You might have

604
00:41:13,556 --> 00:41:15,956
Speaker 1: even made children like there made people who may have

605
00:41:16,036 --> 00:41:18,836
Speaker 1: gone home. I never want to be responsible for that.

606
00:41:18,996 --> 00:41:21,036
Speaker 1: I'm sorry to anyone who might per create as a

607
00:41:21,036 --> 00:41:23,996
Speaker 1: result of my asking them to make out a little

608
00:41:24,556 --> 00:41:33,196
Speaker 1: little Mary statue to be around somewhere. Our time in

609
00:41:33,236 --> 00:41:36,836
Speaker 1: the city's nearly over, but of course there's one last

610
00:41:36,876 --> 00:41:41,396
Speaker 1: thing we have to do. Locals here might not eat

611
00:41:41,436 --> 00:41:45,396
Speaker 1: everybody's gumbo, but they definitely eat this guy's. I think

612
00:41:45,396 --> 00:41:47,436
Speaker 1: I think about it, maybe like as soon as I

613
00:41:47,556 --> 00:41:49,956
Speaker 1: wake up. Maybe the last thing, you know, think about

614
00:41:50,076 --> 00:41:51,636
Speaker 1: this is waking up at a minute night, like, oh

615
00:41:51,716 --> 00:41:56,116
Speaker 1: my god, gumbo. You know. Jordan Ruins owns the famous

616
00:41:56,236 --> 00:41:59,436
Speaker 1: Munch Factory restaurant. It's where Beyonce and her husband come

617
00:41:59,476 --> 00:42:02,116
Speaker 1: when they want a bowl of the regional specialty. And

618
00:42:02,316 --> 00:42:04,716
Speaker 1: now he's gonna try to teach the Beyonce and mister

619
00:42:04,796 --> 00:42:08,836
Speaker 1: Beyonce of travel Podcasting. How to make it? You need crabs,

620
00:42:09,556 --> 00:42:12,276
Speaker 1: you need shrimp. What I do for my gumbo? I

621
00:42:12,356 --> 00:42:14,956
Speaker 1: make a dark room. No, you need at least three

622
00:42:15,036 --> 00:42:19,676
Speaker 1: or four hours for all the ingredients to actually come together. Look,

623
00:42:19,716 --> 00:42:22,236
Speaker 1: I had a hard night last night. I was drinking fiercely.

624
00:42:22,876 --> 00:42:27,036
Speaker 1: Oh you got the New Orleans experience. Huh four hour

625
00:42:27,196 --> 00:42:31,396
Speaker 1: dish man. Can we just buy some gumbo from you

626
00:42:31,596 --> 00:42:35,156
Speaker 1: and pass it off as ours? That's fine, do what

627
00:42:35,276 --> 00:42:38,996
Speaker 1: you want, do what you want. Look, ye, thank you

628
00:42:39,116 --> 00:42:51,396
Speaker 1: so much. I'm gonna get your gumbo one. Thank you

629
00:42:51,476 --> 00:42:55,516
Speaker 1: for having me. This is Becca. Be very nice to

630
00:42:55,556 --> 00:42:58,796
Speaker 1: meet you. Thanks for joining us. Do you can partake

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00:42:58,836 --> 00:43:02,916
Speaker 1: of the gumbo we made today? Oh? I'm very excited

632
00:43:03,116 --> 00:43:12,876
Speaker 1: we made ar The moment of truth finally arrives. I

633
00:43:12,956 --> 00:43:14,876
Speaker 1: mean you can tell gumb about looking at it. I saw,

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00:43:14,876 --> 00:43:17,516
Speaker 1: I was like, all right, dark, nice, dark rue, sizeable

635
00:43:17,556 --> 00:43:20,156
Speaker 1: amount of sausage. That's how I like it. The meadheads,

636
00:43:20,156 --> 00:43:22,276
Speaker 1: that's sort of that coating on it. So it's perfect.

637
00:43:22,316 --> 00:43:25,156
Speaker 1: Thank you. It seemed like our dinner party guests. We're

638
00:43:25,156 --> 00:43:33,316
Speaker 1: falling for our little ruse. Until did you ride us out? Daniel? Yeah?

639
00:43:33,676 --> 00:43:37,796
Speaker 1: Oh man. But it was such a cute story. How

640
00:43:38,716 --> 00:43:40,796
Speaker 1: I mean, you might asp want to like make like

641
00:43:41,076 --> 00:43:48,916
Speaker 1: blowfish soup. It's good. This is a word gumbo. So

642
00:43:49,036 --> 00:43:51,396
Speaker 1: we gotta get some world lead us together over gumbo

643
00:43:51,636 --> 00:43:53,796
Speaker 1: that was solved out of problems, you think, So, oh yeah,

644
00:43:57,076 --> 00:43:58,836
Speaker 1: we might not have learned how to make dark rue,

645
00:43:59,596 --> 00:44:01,396
Speaker 1: but our trip to New Orleans did give us a

646
00:44:01,436 --> 00:44:05,276
Speaker 1: new take on a perfect travel recipe. It goes like this,

647
00:44:06,316 --> 00:44:10,276
Speaker 1: so like choice local ingredients, combine with curiosity and mirth,

648
00:44:11,076 --> 00:44:14,756
Speaker 1: add a little voodoo and vodka hurricanes to taste. Stood

649
00:44:14,796 --> 00:44:20,276
Speaker 1: for forty eight hours alongside good companionship and voila. So

650
00:44:20,476 --> 00:44:23,076
Speaker 1: my my EndNote is that you know, one day, hundreds

651
00:44:23,076 --> 00:44:26,716
Speaker 1: of years from now, somebody in a submarine is gonna

652
00:44:26,716 --> 00:44:29,236
Speaker 1: be floating around in the Gulf Mexico and they're gonna

653
00:44:29,356 --> 00:44:32,116
Speaker 1: they're gonna see like the turrets of Saint Louis Cathedral

654
00:44:32,116 --> 00:44:34,596
Speaker 1: and no good, what is this? What was this place?

655
00:44:35,316 --> 00:44:37,476
Speaker 1: And then somebody will figure out that was New Orleans.

656
00:44:38,516 --> 00:44:41,556
Speaker 1: But there's no sadness in that because we created jazz,

657
00:44:41,756 --> 00:44:43,916
Speaker 1: we created a lot of other stuff that spread throughout

658
00:44:43,916 --> 00:44:47,596
Speaker 1: the entire world, so it can never really die. And

659
00:44:48,156 --> 00:45:25,956
Speaker 1: that's us. The lead producer on this episode of Not

660
00:45:26,116 --> 00:45:29,956
Speaker 1: Lost was Crystal du Haim. The show was also produced

661
00:45:30,036 --> 00:45:33,476
Speaker 1: and written by me Brendan Francis Newnham. Our associate producer

662
00:45:33,636 --> 00:45:36,676
Speaker 1: was Jackson Musker. Our story editor for this episode was

663
00:45:36,756 --> 00:45:40,236
Speaker 1: Mira Bert. When Tonic note, I mispronounced her name the

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00:45:40,316 --> 00:45:43,476
Speaker 1: first couple episodes. That's the importance of an editor right there,

665
00:45:43,716 --> 00:45:47,036
Speaker 1: I apologize, Mira. The show was sound designed and mixed

666
00:45:47,036 --> 00:45:51,716
Speaker 1: by Crystal du Haim and mastered by Hannas Brown. A

667
00:45:51,796 --> 00:45:54,516
Speaker 1: big thanks to my friend and this episode's travel partner,

668
00:45:54,636 --> 00:45:59,156
Speaker 1: Daniel Henderson. Not Lost is a co production of Pushkin Industries,

669
00:45:59,276 --> 00:46:03,516
Speaker 1: Topic Studios, and iHeartMedia. It was developed at Topic Studios.

670
00:46:04,436 --> 00:46:08,316
Speaker 1: The show's executive producers are me Christy Gressman, Maria Zuckerman,

671
00:46:08,596 --> 00:46:13,036
Speaker 1: Lisa Gang, and La Tom Mulade. Production assistants on this

672
00:46:13,196 --> 00:46:17,276
Speaker 1: episode also came from Jacob Smith, Amy Gaines and Julia Barton.

673
00:46:17,956 --> 00:46:21,636
Speaker 1: Our theme song was created by Alexis Georgiopolis aka ARP

674
00:46:22,316 --> 00:46:24,796
Speaker 1: and a big thank you to everyone who welcomed us

675
00:46:24,916 --> 00:46:30,156
Speaker 1: in New Orleans. Doctor Joey Banner and Whitney Plantation, Becca Havens,

676
00:46:30,516 --> 00:46:35,156
Speaker 1: Kathy Lewis at Saint Augustine Church, Keith Sparra, Kermit Ruffins

677
00:46:35,156 --> 00:46:38,876
Speaker 1: and the Blue Nile Club, Priestess Madam Cinnamon Black and

678
00:46:39,036 --> 00:46:43,436
Speaker 1: the Historical Voodoo Museum, and Maurice Carlos Ruffin. I recommend

679
00:46:43,476 --> 00:46:46,036
Speaker 1: you grab yourself a copy of Maurice's books, The Ones

680
00:46:46,076 --> 00:46:48,836
Speaker 1: Who Don't Say They Love You and We Cast the Shadow.

681
00:46:49,436 --> 00:46:52,836
Speaker 1: He's pretty darn good at what he does. And speaking

682
00:46:52,916 --> 00:46:55,516
Speaker 1: of great major thanks are in order to Jordan Ruez

683
00:46:55,636 --> 00:47:00,676
Speaker 1: and Munch Factory Restaurant for the truly delicious gumbo. Thanks

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00:47:00,716 --> 00:47:03,356
Speaker 1: for saving me for myself. Guys, if you want to

685
00:47:03,356 --> 00:47:05,396
Speaker 1: see pictures of where we went or learn about any

686
00:47:05,436 --> 00:47:08,436
Speaker 1: of our guests, head to not lasshow dot com. And

687
00:47:08,716 --> 00:47:11,796
Speaker 1: if you are still listening to this show, you are

688
00:47:12,036 --> 00:47:15,676
Speaker 1: fantastic and you might probably have extra moment to head

689
00:47:15,716 --> 00:47:18,916
Speaker 1: to Apple Podcasts and rate and review us. It really

690
00:47:19,436 --> 00:47:21,836
Speaker 1: does us a lot of good. Such a small thing

691
00:47:22,036 --> 00:47:25,236
Speaker 1: and it means a lot. Learn more about Topic Studios

692
00:47:25,276 --> 00:47:28,716
Speaker 1: at topic studios dot com. To find more pushkin podcasts,

693
00:47:28,876 --> 00:47:32,116
Speaker 1: listen on the iHeartRadio app, Apple podcasts, or wherever you

694
00:47:32,236 --> 00:47:35,996
Speaker 1: listen to podcast. I'm Brendan Francis, Newnham. Until next time,

695
00:47:36,716 --> 00:47:37,156
Speaker 1: voyage