WEBVTT - New Orleans: Anybody’s Gumbo

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<v Speaker 1>Pushkin. What it takes to feed the soul. What it

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<v Speaker 1>takes to feed the soul takes a lot. We feed

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<v Speaker 1>the soul by feeding the spirit. When the spirit do

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<v Speaker 1>things that we ask them to do, we have to

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<v Speaker 1>pay them back. So there are certain things that the

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<v Speaker 1>spirit can't do. Can't eat, can't drink, can't have sex,

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<v Speaker 1>can't sing, and can't dance. So you do those things

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<v Speaker 1>in honor when spirit does things for you. So let's begin.

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<v Speaker 1>This is not Lost. I'm Brendan Francis Nunham. Each episode,

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<v Speaker 1>a friend and night travel somewhere, see the sun and

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<v Speaker 1>try to get a local to invite us to dinner.

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<v Speaker 1>I'm at Louis Armstrong International Airport picking up my buddy

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<v Speaker 1>TV writer Daniel Henderson. She's just arrived from La resplendent

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<v Speaker 1>with new purple braids. Looks amazing. This episode New Orleans.

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<v Speaker 1>I was on it for three days before I wanted

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<v Speaker 1>to lose. I was losing my mind. As we drive

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<v Speaker 1>into the city in our rental car, Daniel catches me

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<v Speaker 1>up in her personal life. After years of being single,

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<v Speaker 1>she recently joined a dating app. I've never seen more

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<v Speaker 1>chumps back to back in my life. No I've done

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<v Speaker 1>some dating apps, and you really do start to get

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<v Speaker 1>sad about humanity. It's like being at the mall too

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<v Speaker 1>long or something. It's leg and then the other half

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<v Speaker 1>of the dudes on there are like fucking paragliding from

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<v Speaker 1>a helicopter while wearing water skin and there. Yeah, it's like,

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<v Speaker 1>it's un like, can you calm down? How the hell

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<v Speaker 1>are we gonna make out? If you're always at the gym?

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<v Speaker 1>We're jumping out of let's play that game. So New Orleans,

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<v Speaker 1>what do you think they music New Orleans? I think swamps,

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<v Speaker 1>you know, like the trees and trays of peach tree

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<v Speaker 1>and live music. I'm the jazz is what I'm sign

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<v Speaker 1>the jazz z. We're gonna learn how to make some gumbo,

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<v Speaker 1>which awesome. Yes right here. And also due to our

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<v Speaker 1>success in Montreal, we have to do another dinner party.

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<v Speaker 1>Do not ask, literally, any black people at all in

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<v Speaker 1>the city lave connotation. Oh my god, god, hey't even

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<v Speaker 1>think of that. I'm a white guy who just dropped

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<v Speaker 1>in the town. Have you made miss a dinner? All? Right?

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<v Speaker 1>But there was a wedding, a wedding second line walking

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<v Speaker 1>down the street with a brass band behind him. That's

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<v Speaker 1>natural New New Orleans. And I still got here only

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<v Speaker 1>like thirty seconds late, so I feel good about it.

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<v Speaker 1>That's Maurice Carlos Ruffin, native New Orleanians and author of

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<v Speaker 1>the novel We Cast a Shadow, the satire of racism

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<v Speaker 1>in the South. I'm so happy to meet you both

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<v Speaker 1>and share a drink. We're having lunch at the Carousel Bar.

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<v Speaker 1>It's known for being a past haunt of writers like

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<v Speaker 1>Tennessee Williams and Hemingway, and also for having a bar

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<v Speaker 1>like an actual carousel. That's right. Customers slowly rotate around

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<v Speaker 1>like horses on poles, sipping sasarex fun. But if you

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<v Speaker 1>drink too much, it means double the spins. A lot

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<v Speaker 1>of tourists come here and it's like rink and what's

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<v Speaker 1>just for the sake of drinking toon much now? Because

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<v Speaker 1>it's gonna feel good where the nation's release valves. I've

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<v Speaker 1>heard repeatedly that mardi grav comes from this ancient French

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<v Speaker 1>tradition of sort of France during the sort of surf

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<v Speaker 1>and peasant era, when the king would say, you know,

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<v Speaker 1>we've been really oppressing these people really hard. Let let

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<v Speaker 1>them party for a few days and that way they

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<v Speaker 1>won't like Roboult and try and kill me. Maybe when

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<v Speaker 1>they stopped, don't ask when they cut his head off.

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<v Speaker 1>I don't know. We want to do this all the time.

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<v Speaker 1>New Orleans. I know this city is contains multitudes. Can

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<v Speaker 1>he kind of try to summarize it? Well, that is

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<v Speaker 1>a tall older, but I mean I would say that

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<v Speaker 1>New Orleans is a town that never forgets his past,

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<v Speaker 1>and that we have this great history of a culture

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<v Speaker 1>that is built atop African culture, and it's all mixed

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<v Speaker 1>with French culture, Spanish culture and other cultures from around

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<v Speaker 1>the world. Couldn't be the means as well as a

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<v Speaker 1>huge vie themes population here as well. And um, we're

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<v Speaker 1>good at storytelling, whether the truth songs or through poetry,

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<v Speaker 1>and a Fields can write fiction as well, like myself.

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<v Speaker 1>We're sitting next to this this case that has pictures

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<v Speaker 1>of Falkner and Tennessee Williams, these old dead white men

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<v Speaker 1>who who found Burgess here. We mentioned Faulkner, Truman, Capode. No,

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<v Speaker 1>they all came through here, and there's a reason for that.

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<v Speaker 1>I mean, you know, if you're in mid twenties century

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<v Speaker 1>of America and everything is so structured and rigid, and

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<v Speaker 1>you want to break out and have a chance to

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<v Speaker 1>be your best version of yourself as an artist. Come

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<v Speaker 1>down to this bohemian sort of paradise where almost anything goes.

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<v Speaker 1>And so if the Truman Capodi come down here, we're

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<v Speaker 1>not gonna mess with you because you like men or

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<v Speaker 1>you know, whatever the issue is. And so those things

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<v Speaker 1>are a part of by backstory. There was a TV

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<v Speaker 1>show a few years ago called Tremaine, and Hermit Roughlins

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<v Speaker 1>was in it, and there's this famous scene where this

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<v Speaker 1>like producer or somebody's like, you know, you wanted the

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<v Speaker 1>players of the trumpet in the entire country. Don't you

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<v Speaker 1>want to go international? One day? He says, Nah, man,

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<v Speaker 1>I was gonna play my backyard. That's the New Orleans ethos.

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<v Speaker 1>It's not beating your competitors. It's encouraging an atmosphere of creativity.

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<v Speaker 1>All right, appreciative season. I'm kind of nervous good talk

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<v Speaker 1>to people about Katrina here. You know, it's it's hard

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<v Speaker 1>to bring out the worst event of somebody's life, but

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<v Speaker 1>then it's also too important to ignore. Well, you know,

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<v Speaker 1>I was gonna be twenty six or twenty seven, my

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<v Speaker 1>Katrina happened, and I probably had a lot of growing

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<v Speaker 1>to do, and I can tell you that that experience

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<v Speaker 1>matured me. We lost our house, we lost our cars,

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<v Speaker 1>and then as the days and weeks passed, I look

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<v Speaker 1>back and recognize, you know, it been in your city's

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<v Speaker 1>on the water right now it's all gone. You think

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<v Speaker 1>what's really important. You think it's the people that you love,

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<v Speaker 1>and it's what you want to do with your life.

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<v Speaker 1>And so I doubled down on being a writer. You know,

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<v Speaker 1>I'm gonna turn by trade, but I said, you know, Maurice,

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<v Speaker 1>you you're gonna make a book one day. Dude. It

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<v Speaker 1>took some time, but I got it done. You know interesting,

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<v Speaker 1>n Orleans has been destroyed like five times. The quarter

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<v Speaker 1>burned down like twice. We had yellow Favorite pandemics, multiple floods.

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<v Speaker 1>Look around. We were not destroyed. Our culture is still here.

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<v Speaker 1>Maurice clearly has a huge appetite for his hometown, figuratively

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<v Speaker 1>and literally. Can we have some nuts? After flagging down

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<v Speaker 1>the waiter for Cajun bar nuts, he jokes that food

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<v Speaker 1>is his spirit animal. Luckily, dinner parties are mine. I'm

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<v Speaker 1>about to inquire as to whether Maurice could host us

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<v Speaker 1>for one on Sunday, but Daniel's warning pops in my head,

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<v Speaker 1>so instead he invite him to our place on Sunday,

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<v Speaker 1>and we'll be doing the cooking. We're learning how to

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<v Speaker 1>make make gumbo. Our gumbo is at least one of

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<v Speaker 1>the most complex meals you can possibly make. The crabs

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<v Speaker 1>and the filet and the sauces, and I can't make gumbo.

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<v Speaker 1>Really what it's a saint. I mean, there's a literal

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<v Speaker 1>saying it's you don't eat everybody's gumble. Thanks for your honesty,

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<v Speaker 1>So um, you're gonna join us? Of course, excellent. With

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<v Speaker 1>our first inner party guests secured, Danielle and I hop

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<v Speaker 1>back in the car and follow the Mississippi River into

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<v Speaker 1>the swamp lands and cotton fields northwest of the city.

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<v Speaker 1>If we were going to take advantage of all the

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<v Speaker 1>New Orleans had to offer, we first need to face

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<v Speaker 1>the uncomfortable truth of where it all came from. I've

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<v Speaker 1>never been less excited to go somewhere. So much of

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<v Speaker 1>this area is possible, or it's here, or the history

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<v Speaker 1>of it is slavery. Yeah, and so on the one hand,

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<v Speaker 1>you can't deny that, but on the other hand, how

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<v Speaker 1>do you why, how and why are you celebrating it?

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<v Speaker 1>You know, Well, that's what's crazy. I didn't realize that

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<v Speaker 1>weddings like sority reunions and picnics happen on most of

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<v Speaker 1>these plantations. I think every plantation there should be some

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<v Speaker 1>regulations there where they have to have a certain amount

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<v Speaker 1>of realistic history applied. So if you want to have

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<v Speaker 1>your sorority reunion there, you're gonna have to know that

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<v Speaker 1>you're standing on the bones of black people. Yeah, it

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<v Speaker 1>might be a little bit of downer, it might be

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<v Speaker 1>a bummer while you're drinking your Hurricanes. But what's your

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<v Speaker 1>family's relationship in but all of slavery my so, my

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<v Speaker 1>great great great grandparents were slaves in the Dutch West Indies. Oh,

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<v Speaker 1>then they did come to the States. They came to

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<v Speaker 1>America and lived in Virginia, and so there was still slavery.

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<v Speaker 1>Were they slaves in Virginia or were they throughout your life?

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<v Speaker 1>Have you It's like, I feel like that there's a

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<v Speaker 1>way you have to I'm guessing as a black person America,

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<v Speaker 1>you have to pull your punches and conversations about race

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<v Speaker 1>with white people. In this sense, because they couldn't not

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<v Speaker 1>handle the truth, but you can't fully process it been yours.

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<v Speaker 1>We've never had a conversation about what it's like for

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<v Speaker 1>me to people treated like we talk about privilege and

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<v Speaker 1>joke about stuff, but like I have it better than

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<v Speaker 1>a lot of people in a lot of ways. You know,

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<v Speaker 1>it's it's you know, I'm light skinned, and like you know,

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<v Speaker 1>it's I can't pass. But like I definitely white. People

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<v Speaker 1>have told me that I'm less threatening to them for

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<v Speaker 1>these reasons, which is fucking absurd soon but um, but yeah,

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<v Speaker 1>I think that it's it is hard to have that conversation.

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<v Speaker 1>It's not really like a pulling punches. It's just kind

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<v Speaker 1>of like like nobody asks me and nobody wants to

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<v Speaker 1>hear about it. I mean, I want to talk about something,

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<v Speaker 1>but I think it's kind of like you get one

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<v Speaker 1>get scared to be like if I bring it up,

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<v Speaker 1>am I Like? Am I bringing it up wrong? Am

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<v Speaker 1>I stating the obvious? Like there's just this charge I said,

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<v Speaker 1>there's impulse so avoided and I know I can talk

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<v Speaker 1>to about anything, but I'm also like I feel like

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<v Speaker 1>it's part it's not your responsible. Why why should be

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<v Speaker 1>every thoughtful. You know, black person's job to educate people. Yeah,

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<v Speaker 1>it's not. And if you have any questions about white people,

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<v Speaker 1>I mean, and I'm here for you and us about

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<v Speaker 1>white ree well that that we're here doing this together,

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<v Speaker 1>and me too. I really am plantation entrance. We're here.

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<v Speaker 1>There's a little pond at the end of a dirt

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<v Speaker 1>road lies the Whitney, an old sugar plantation that's now

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<v Speaker 1>a rather unique open air museum. Joy, nice to meet you.

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<v Speaker 1>We're meeting up with director of Communications, doctor Joy Banner.

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<v Speaker 1>Joy was born and raised a stone's throw from here,

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<v Speaker 1>but left to get her PhD and teach African American

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<v Speaker 1>studies in Texas for a few years before deciding to

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<v Speaker 1>come back. Much sure Friend's surprise when I told him

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<v Speaker 1>that I was moving back to work at a plantation,

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<v Speaker 1>they were like, Joy, what's wrong? You need help? And

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<v Speaker 1>I said, but no, this plantation is different because it

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<v Speaker 1>focuses on the lives of the enslaved people. And they

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<v Speaker 1>were like, Joy, that that's even worse. Would sets us

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<v Speaker 1>apart from different plantations? Is this is a place of memory, right,

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<v Speaker 1>this is a place of reverence. Notice that we don't

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<v Speaker 1>start at the big house where the owning family live

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<v Speaker 1>a right, because it's not about the big house, is

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<v Speaker 1>about slavery. So this wall, though, has the names that

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<v Speaker 1>we've collected so far of all the people that were

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<v Speaker 1>enslaved in West African culture. Person's name tells us a

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<v Speaker 1>little bit something about who they are. It's a connection

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<v Speaker 1>to their history. So Samba, for example, is it means

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<v Speaker 1>a second born son Musa. That's a Muslim name for Moses,

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<v Speaker 1>so we know that Musa was probably Muslim. So once

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<v Speaker 1>a person is enslaved, many of them are baptized and

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<v Speaker 1>they get Christian names. Yesterday you were free. Today you

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<v Speaker 1>belong today right right, right, property right. Today your property

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<v Speaker 1>you belong to someone else. But names are not recorded

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<v Speaker 1>for the purpose of descendants going back and being able

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<v Speaker 1>to know something about their ancestor. Right. So we can't

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<v Speaker 1>hop on ancestry dot Com the way other people can.

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<v Speaker 1>It does not work that way for us. Right, and

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<v Speaker 1>I we're kind of crossing over this small land bridge

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<v Speaker 1>over a stream. When I give the tours here, I

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<v Speaker 1>like stopping people over these spots because it reminds me

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<v Speaker 1>of the swamps of Louisiana. So the swamps rest behind

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<v Speaker 1>the sugarcane fields. That water is very important because when

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<v Speaker 1>it would send me quote unquote Negro dogs after you

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<v Speaker 1>after you escape, jump in the water, and then they

0:14:38.636 --> 0:14:45.836
<v Speaker 1>can't track your scent. So this church was built eighteen

0:14:45.956 --> 0:14:50.676
<v Speaker 1>sixty eight. Oh yeah, ares a white one as a

0:14:50.716 --> 0:14:53.556
<v Speaker 1>blue one and hang out and there could be a

0:14:53.596 --> 0:14:56.116
<v Speaker 1>gator or two. Is warm enough that they might come

0:14:56.156 --> 0:15:01.116
<v Speaker 1>out today? All right, I don't like this interview. I can't.

0:15:06.716 --> 0:15:08.476
<v Speaker 1>So as we're walking in, we're seeing the pews. On

0:15:08.596 --> 0:15:12.556
<v Speaker 1>other side, we're also seeing these gorgeous statues of children.

0:15:13.556 --> 0:15:16.956
<v Speaker 1>These are called the Children of Whitney. Um. The artist

0:15:17.036 --> 0:15:20.636
<v Speaker 1>is Woodrow Nash. Why did he have an interest in

0:15:20.796 --> 0:15:24.996
<v Speaker 1>having children rendered? People are sensitive to children and children

0:15:25.036 --> 0:15:27.596
<v Speaker 1>are innocence. So if you can enslave a child, and

0:15:27.836 --> 0:15:30.956
<v Speaker 1>you know, again it evokes the brutality of the system. Right,

0:15:32.076 --> 0:15:34.356
<v Speaker 1>it seems like they're you know, they're oxidizing in such

0:15:34.356 --> 0:15:36.796
<v Speaker 1>a way that costs also show not just the age

0:15:36.796 --> 0:15:39.996
<v Speaker 1>of the statue itself, but the wear and tear on

0:15:40.436 --> 0:15:43.636
<v Speaker 1>the children growing up in this system. These are these

0:15:43.676 --> 0:15:46.476
<v Speaker 1>are made out of clay. But like you said, you know,

0:15:46.996 --> 0:15:50.596
<v Speaker 1>these break sometimes, so you see a little chip here.

0:15:51.116 --> 0:15:54.996
<v Speaker 1>It is you know, reflective of what a human body

0:15:55.076 --> 0:15:57.596
<v Speaker 1>would have been, you know, the type of trauma that

0:15:57.676 --> 0:16:10.836
<v Speaker 1>it would have been sustaining. Boy like, they look like

0:16:10.916 --> 0:16:15.796
<v Speaker 1>structural art peatures on the front pature. They were sugar kettles.

0:16:16.316 --> 0:16:18.716
<v Speaker 1>So yes, this is where you would process. The sugar

0:16:19.316 --> 0:16:22.556
<v Speaker 1>cane stalks were brought to the sugar mill and ground

0:16:22.636 --> 0:16:27.036
<v Speaker 1>down into a pulp. Think about it. They're stirring thick

0:16:27.196 --> 0:16:32.316
<v Speaker 1>sugar mixture, hot sugar mixtures. The lifespan of someone that

0:16:32.436 --> 0:16:35.196
<v Speaker 1>comes to a Louisiana plantation and works in those fields

0:16:35.476 --> 0:16:38.596
<v Speaker 1>is seven to ten years. Seven to ten years. They

0:16:38.676 --> 0:16:43.756
<v Speaker 1>are working people from can't see. They can't see even

0:16:44.156 --> 0:16:47.236
<v Speaker 1>chopping down the sugar cane they're having to go through

0:16:47.436 --> 0:16:51.276
<v Speaker 1>very quickly with very sharp machette knives. So there are accidental,

0:16:51.516 --> 0:16:54.956
<v Speaker 1>you know, amputations that happen. There are amputations that happened

0:16:54.996 --> 0:16:57.836
<v Speaker 1>as they're feeding the sugar cane stalked through the grinder.

0:16:58.236 --> 0:17:05.156
<v Speaker 1>In the sugar house, the crattiest thing is caving to me.

0:17:05.716 --> 0:17:08.116
<v Speaker 1>It is the square that is cut out in the

0:17:08.196 --> 0:17:10.876
<v Speaker 1>wall right over the bed um. Can any of you

0:17:11.036 --> 0:17:13.796
<v Speaker 1>guess why that's there? For the masters of rivers in

0:17:13.836 --> 0:17:17.876
<v Speaker 1>the house to wash them having sex or no, No,

0:17:19.396 --> 0:17:23.916
<v Speaker 1>I'm growth that, Danielle. It was my fault for bringing

0:17:23.956 --> 0:17:28.956
<v Speaker 1>you there. So she was there already. Oh that was

0:17:28.996 --> 0:17:33.716
<v Speaker 1>super curious. Yes, So there was a family living here

0:17:33.836 --> 0:17:37.756
<v Speaker 1>until the nineteen eighties, so this is where they would

0:17:37.756 --> 0:17:40.956
<v Speaker 1>have wired electricity and put in a switch. They lived

0:17:40.996 --> 0:17:45.476
<v Speaker 1>here into the eighties. So we talk about the plantation

0:17:45.596 --> 0:17:48.476
<v Speaker 1>system and how slavery will end, but the system doesn't.

0:17:48.996 --> 0:17:54.316
<v Speaker 1>After slavery, where do you go? You've been, you know,

0:17:54.476 --> 0:17:57.116
<v Speaker 1>forced to work in the in the sugarcane fields. That's

0:17:57.156 --> 0:17:59.356
<v Speaker 1>all your skill is going to be sugar, sugar, sugar

0:17:59.596 --> 0:18:02.556
<v Speaker 1>until but now you're getting charged for the for renting

0:18:02.836 --> 0:18:06.196
<v Speaker 1>the cabin. It's it's wage work till they're getting paid

0:18:06.356 --> 0:18:10.716
<v Speaker 1>for it. But you're not serving to right, You're not

0:18:10.916 --> 0:18:15.036
<v Speaker 1>getting enough to really move off of this plantation. But

0:18:15.196 --> 0:18:18.036
<v Speaker 1>can you imagine like having a body that's a riddlewood

0:18:18.076 --> 0:18:23.516
<v Speaker 1>pain and injury and scars for someone else's benefit and privilege.

0:18:24.276 --> 0:18:26.636
<v Speaker 1>Can you imagine like looking in the mirror and seeing

0:18:27.036 --> 0:18:29.276
<v Speaker 1>the wrinkles in your face and all and knowing that

0:18:29.396 --> 0:18:33.396
<v Speaker 1>has been for somebody else, you know, Yeah, I don't

0:18:33.396 --> 0:18:35.596
<v Speaker 1>talk about rinkles, not yet and brought me there. I'm

0:18:35.636 --> 0:18:38.396
<v Speaker 1>gonna get a rinkle for somebody else. No, I've not

0:18:38.556 --> 0:18:53.796
<v Speaker 1>a man, y'all. Do people come here thinking that this

0:18:54.036 --> 0:18:57.316
<v Speaker 1>is maybe like a place where you look at furniture

0:18:57.396 --> 0:19:00.196
<v Speaker 1>and have a mental have you encountered like like people

0:19:00.236 --> 0:19:02.836
<v Speaker 1>who don't know what they're coming to? So we we

0:19:03.036 --> 0:19:05.836
<v Speaker 1>get we get a range. Right. There are people that

0:19:06.076 --> 0:19:09.036
<v Speaker 1>have like these private luxury tours and they're looking for more, look,

0:19:09.196 --> 0:19:13.036
<v Speaker 1>curious experience. I have an inclination to say, yes, we

0:19:13.116 --> 0:19:15.276
<v Speaker 1>can give you a special tour. And I bring them

0:19:15.316 --> 0:19:18.196
<v Speaker 1>out into the hurricane fields with those machetes and make

0:19:18.236 --> 0:19:21.396
<v Speaker 1>them chop, you know, all the way back to the swamps, Like,

0:19:22.076 --> 0:19:33.236
<v Speaker 1>here's your special luxury tour. Isn't it great? What's up? Oh?

0:19:33.316 --> 0:19:36.996
<v Speaker 1>So throughout the plantation we have bells to ring in

0:19:37.116 --> 0:19:40.236
<v Speaker 1>honor of the people that live, died, and labored here.

0:19:40.596 --> 0:19:43.276
<v Speaker 1>In their time, they would wake up at the tolling

0:19:43.316 --> 0:19:46.316
<v Speaker 1>of that bell, knock off for lunch with that bell,

0:19:46.396 --> 0:19:48.756
<v Speaker 1>and then come in from the fields at that bell,

0:19:49.196 --> 0:19:51.716
<v Speaker 1>And so we use it as a way of remembering them.

0:19:54.796 --> 0:20:04.036
<v Speaker 1>Thank you. Danielle and I are mostly silent on our

0:20:04.116 --> 0:20:08.396
<v Speaker 1>drive back to New Orleans. We watch as the setting

0:20:08.436 --> 0:20:11.356
<v Speaker 1>sun turns u swamp and sky incandescent shades of orange

0:20:11.396 --> 0:20:16.396
<v Speaker 1>and purple. Gradually, the fields and Spanish moss are replaced

0:20:16.436 --> 0:20:23.516
<v Speaker 1>by concrete and billboards as the highway turns to city streets. Dude,

0:20:25.956 --> 0:20:35.316
<v Speaker 1>do it? Whoa Jesus? Hello? Kill somebody think it's like

0:20:35.356 --> 0:20:38.516
<v Speaker 1>a bottle Jesus. This hole is so deep you can

0:20:38.556 --> 0:20:40.716
<v Speaker 1>only see the top of the Oh my god that

0:20:40.876 --> 0:20:52.876
<v Speaker 1>you just drop the Hello Hello. We're in the French

0:20:52.956 --> 0:20:55.956
<v Speaker 1>Quarter again. Meeting up with Daniel's old friend Becca Havens.

0:20:57.156 --> 0:20:59.556
<v Speaker 1>Becca's originally from New York City, but has lived in

0:20:59.596 --> 0:21:02.676
<v Speaker 1>New Orleans for over a decade. She's also the daughter

0:21:02.716 --> 0:21:05.516
<v Speaker 1>of the late great musician Richie Havens, a fixture of

0:21:05.556 --> 0:21:08.436
<v Speaker 1>the local jazz fest But I'm too shy to ever

0:21:08.476 --> 0:21:12.236
<v Speaker 1>bring that up. It's beautifully disordered. It's funky, it's rundown,

0:21:12.236 --> 0:21:14.516
<v Speaker 1>it's old, it's adorable, and it's weird and people walk

0:21:14.556 --> 0:21:16.596
<v Speaker 1>around and don't wear pants and stuff, and it's just

0:21:16.876 --> 0:21:19.796
<v Speaker 1>like I just it's awesome. Let's get off This is

0:21:19.876 --> 0:21:22.276
<v Speaker 1>a major beaten paths. Let's just get off it. Since

0:21:22.276 --> 0:21:24.556
<v Speaker 1>Bourbon Street is starting to pile up with drunk tourists,

0:21:24.996 --> 0:21:27.276
<v Speaker 1>we decided to check out some of the quieter side streets.

0:21:27.596 --> 0:21:30.676
<v Speaker 1>I'm like loving this raw iron now. I feel like

0:21:30.676 --> 0:21:33.076
<v Speaker 1>I'm in a movie set right now. It doesn't feel real.

0:21:33.276 --> 0:21:35.596
<v Speaker 1>I mean, look at it, this is pretty dreamy. The

0:21:35.636 --> 0:21:38.076
<v Speaker 1>foggy neighborhood has lit up with gas lanterns, and the

0:21:38.156 --> 0:21:41.276
<v Speaker 1>houses with their iron balconies are painted peach, white and blue.

0:21:42.316 --> 0:21:45.116
<v Speaker 1>A New New Orleans is singular. But have there been

0:21:45.156 --> 0:21:47.676
<v Speaker 1>any Southern trades that you've taken you some time to

0:21:47.716 --> 0:21:52.516
<v Speaker 1>adjust to or just that use them? Tell me more.

0:21:53.276 --> 0:21:59.836
<v Speaker 1>That's Danielle crashing into a steel wall. Words people are

0:21:59.836 --> 0:22:02.796
<v Speaker 1>comfortable using in my presence. I mean, it's just if

0:22:02.836 --> 0:22:05.396
<v Speaker 1>you look it up, like every major avenue here is

0:22:05.756 --> 0:22:08.836
<v Speaker 1>named after someone terrible. What are we gonna do? Rename everything? Yes,

0:22:09.236 --> 0:22:12.156
<v Speaker 1>that's exactly what you're supposed to do, is rename it all.

0:22:12.316 --> 0:22:14.116
<v Speaker 1>And people just really don't want to do that. The

0:22:14.236 --> 0:22:18.196
<v Speaker 1>racism and guns, people just carry them like I got

0:22:18.236 --> 0:22:21.396
<v Speaker 1>my gun just in case. Now, tell me, what is

0:22:21.436 --> 0:22:24.156
<v Speaker 1>the smell that we're smelling? Isn't that something? Yeah? You

0:22:24.236 --> 0:22:28.516
<v Speaker 1>can be the powerful funk is the podcasting smellow vision,

0:22:29.076 --> 0:22:32.196
<v Speaker 1>because that's that's a funk. We just passed a train.

0:22:34.756 --> 0:22:43.036
<v Speaker 1>What is the Nicks fucking bar? Two eggnog dacheries in

0:22:43.036 --> 0:22:49.356
<v Speaker 1>a hurricane? Cheers, cheers up, I was I've been single

0:22:49.436 --> 0:22:53.756
<v Speaker 1>for five years, almost six years. I refuse to engage

0:22:53.796 --> 0:22:58.756
<v Speaker 1>with this culture men have in their bio. I brushed

0:22:58.836 --> 0:23:02.036
<v Speaker 1>my teeth and I take a shower every day, as

0:23:02.076 --> 0:23:04.636
<v Speaker 1>like the things you need to know about that that's

0:23:04.676 --> 0:23:07.916
<v Speaker 1>a very low bar. You feel better that you're married now. Yes,

0:23:08.356 --> 0:23:13.076
<v Speaker 1>straight men are in crisis and it's a tread easy

0:23:13.196 --> 0:23:15.916
<v Speaker 1>to be us. If you've been taking a shower, is

0:23:15.956 --> 0:23:19.996
<v Speaker 1>a beautiful thing to behold. You don't get laid. Yeah,

0:23:20.196 --> 0:23:22.236
<v Speaker 1>I'm down with that plan. I mean, I don't have

0:23:22.316 --> 0:23:27.276
<v Speaker 1>a horse in this race anymore. I will withhold sex

0:23:27.436 --> 0:23:31.516
<v Speaker 1>from every man in America to improve a feminist point.

0:23:32.876 --> 0:23:37.236
<v Speaker 1>It's it's bleak. It's bleak. We talk about the woes

0:23:37.276 --> 0:23:39.796
<v Speaker 1>and modern love for a little while longer, and then

0:23:39.836 --> 0:23:42.396
<v Speaker 1>decide to call tonight out, but not before I ask

0:23:42.436 --> 0:23:44.636
<v Speaker 1>Becca if she'll join us for our gathering on Sunday?

0:23:45.316 --> 0:23:50.916
<v Speaker 1>Will there be food? We're making gumbo? That is no

0:23:51.036 --> 0:23:55.316
<v Speaker 1>small undertaking. This is okay? Oh yeah, I'm going Yes,

0:23:57.956 --> 0:24:06.796
<v Speaker 1>the sounds of a home that went somewhere else, eggnog, Dachris,

0:24:07.436 --> 0:24:11.676
<v Speaker 1>carousel bars hard, reality is of slavery. One day into

0:24:11.716 --> 0:24:13.716
<v Speaker 1>our trip in the Big Easy, and this place is

0:24:13.796 --> 0:24:15.956
<v Speaker 1>already proving to be more rich and complex than we'd

0:24:15.996 --> 0:24:18.876
<v Speaker 1>ever imagined. And I'm starting to wonder if I've also

0:24:18.956 --> 0:24:23.396
<v Speaker 1>underestimated the rich complexity of its signature dish. Drifting off

0:24:23.436 --> 0:24:25.756
<v Speaker 1>to sleep, I'm haunted by the image of a pothole

0:24:26.276 --> 0:24:29.276
<v Speaker 1>the size of a kick drum, and it's filled with gumbo.

0:24:45.676 --> 0:24:51.196
<v Speaker 1>Let's go ahead and license candles. Voodoo is like going

0:24:51.316 --> 0:24:54.556
<v Speaker 1>to your grandmother's house. I'm going to the cemetery, talking

0:24:54.596 --> 0:24:59.116
<v Speaker 1>to your dear relatives. You believe with your ancestors, teach you.

0:24:59.196 --> 0:25:01.516
<v Speaker 1>You know, it's a little bit different than in Haiti,

0:25:01.556 --> 0:25:04.276
<v Speaker 1>you know, which is by man. But New Orleans food

0:25:04.356 --> 0:25:06.836
<v Speaker 1>is ruled by women. So if there's any guys out

0:25:06.876 --> 0:25:14.356
<v Speaker 1>there listening, welcome to our world. Welcome. While I'm making

0:25:14.436 --> 0:25:17.156
<v Speaker 1>my way across town to explore the city's Tremay neighborhood,

0:25:17.716 --> 0:25:20.516
<v Speaker 1>Danielle's at the Historical Voodoo Museum about to get a

0:25:20.596 --> 0:25:25.116
<v Speaker 1>tarot reading from Priestess Madam Cinnamon Black Tell me, what

0:25:25.276 --> 0:25:26.756
<v Speaker 1>makes you want to have a reading. Let's see what

0:25:26.876 --> 0:25:33.876
<v Speaker 1>the nature of your calling is. I've been blocked from love.

0:25:34.756 --> 0:25:36.796
<v Speaker 1>I've kind of blocked myself from love because I got

0:25:36.836 --> 0:25:41.156
<v Speaker 1>divorced a few years ago, and i feel very guilty

0:25:41.676 --> 0:25:48.596
<v Speaker 1>about that. And I'm curious to know if, because I've

0:25:48.596 --> 0:25:51.676
<v Speaker 1>been kind of regenerating myself and taking a few years

0:25:51.756 --> 0:25:53.396
<v Speaker 1>to care for myself, if I'm in a space now

0:25:53.436 --> 0:25:57.876
<v Speaker 1>to let more love into my life. I always want

0:25:57.916 --> 0:25:59.996
<v Speaker 1>to warn you if these cars are not like what

0:26:00.156 --> 0:26:03.236
<v Speaker 1>you wanted to be, I can't change they are what

0:26:03.316 --> 0:26:08.196
<v Speaker 1>they are. Okay, Please choose one card for me, stad

0:26:09.156 --> 0:26:11.396
<v Speaker 1>call for what cards you choose, and remember, if you

0:26:11.476 --> 0:26:14.876
<v Speaker 1>study long, you'll study wrong. You should always follow your

0:26:14.916 --> 0:26:17.996
<v Speaker 1>first mind because that's when your answerstors. So speaking to you,

0:26:22.596 --> 0:26:26.036
<v Speaker 1>thank you. You have three cards on the table, which

0:26:26.116 --> 0:26:33.396
<v Speaker 1>we call pass, Present, Future. What store would you like

0:26:33.516 --> 0:26:38.196
<v Speaker 1>to open? First? Past? My grandma used to say, going

0:26:38.276 --> 0:26:40.596
<v Speaker 1>into the past, it's like looking at the old DVD movie.

0:26:41.316 --> 0:26:44.756
<v Speaker 1>You always see something different within the end. It's always

0:26:44.836 --> 0:26:47.836
<v Speaker 1>ends up the same. It's lovely. I'm going to pick

0:26:47.916 --> 0:26:58.916
<v Speaker 1>up the car. Well. Danielle is exploring her past with

0:26:59.036 --> 0:27:01.996
<v Speaker 1>Madam sinnemon singing calls out to me from the windows

0:27:01.996 --> 0:27:07.596
<v Speaker 1>of Saint Augustine Catholic Church, for I go inside and

0:27:07.716 --> 0:27:09.396
<v Speaker 1>meet someone who has their own way of talking to

0:27:09.476 --> 0:27:14.276
<v Speaker 1>the spirits. Way of the Law. Cathy Lewis has been

0:27:14.316 --> 0:27:17.596
<v Speaker 1>in the church's choir for over forty years. My mother

0:27:17.676 --> 0:27:19.996
<v Speaker 1>always sank to us when she would be when it

0:27:20.156 --> 0:27:23.716
<v Speaker 1>was time for our nap. She would rock us like

0:27:23.916 --> 0:27:28.236
<v Speaker 1>that and she would start off singing the blues, you know,

0:27:28.396 --> 0:27:30.636
<v Speaker 1>BB King or somebody, and the next thing, you know,

0:27:31.396 --> 0:27:36.516
<v Speaker 1>guide me all my gree hold, and the rest of

0:27:36.596 --> 0:27:40.716
<v Speaker 1>it would wind up being church music. You don't know

0:27:41.276 --> 0:27:43.916
<v Speaker 1>how the Holy Spirit is going to work in you.

0:27:46.156 --> 0:27:50.876
<v Speaker 1>You could feel a gusha wyn come in. You get chills.

0:27:52.916 --> 0:27:58.156
<v Speaker 1>It's an experience that you really really can't describe, but

0:27:58.276 --> 0:28:02.076
<v Speaker 1>it's a beautiful feeling and you don't want to come

0:28:02.156 --> 0:28:08.396
<v Speaker 1>down from it. Prepare you the way of the Law,

0:28:09.876 --> 0:28:16.516
<v Speaker 1>repegging the way, passing, glazing over the cart, slowly getting

0:28:16.556 --> 0:28:28.156
<v Speaker 1>over the hot candle, calling up the present is the

0:28:28.276 --> 0:28:33.276
<v Speaker 1>emperor card. The emperor is one who's in charge, who

0:28:33.356 --> 0:28:37.076
<v Speaker 1>knows what he wants, He's been through the struggle. He

0:28:37.516 --> 0:28:39.996
<v Speaker 1>is one who is said to be the ruler in

0:28:40.156 --> 0:28:47.556
<v Speaker 1>charge of his own destiny. Honestly, I don't go to

0:28:47.676 --> 0:28:50.156
<v Speaker 1>church much anymore, but it's somebody who listens to music.

0:28:50.316 --> 0:28:55.796
<v Speaker 1>I know. I'm sorry you slapped me, but but music

0:28:55.916 --> 0:28:58.916
<v Speaker 1>to me provides some side of spirituality. Like I feel

0:28:59.356 --> 0:29:01.636
<v Speaker 1>when I listen to it, it feels like it articulates

0:29:01.676 --> 0:29:04.876
<v Speaker 1>emotions I wouldn't. I don't have just walking through the

0:29:04.916 --> 0:29:11.716
<v Speaker 1>world normally. If you listen to Rachel's it came from

0:29:11.756 --> 0:29:16.156
<v Speaker 1>the church, from his church bringing, and and it accused

0:29:16.196 --> 0:29:19.836
<v Speaker 1>him of blasphemy. I got a woman w over town.

0:29:20.276 --> 0:29:23.316
<v Speaker 1>That's from the old gospel song I Gotta save you,

0:29:24.236 --> 0:29:27.756
<v Speaker 1>I Gotta save you. You know, do you think that's

0:29:27.796 --> 0:29:33.836
<v Speaker 1>how God communicates with music? He communicating all kind of ways.

0:29:34.796 --> 0:29:38.276
<v Speaker 1>One time I was working at the common and I

0:29:38.356 --> 0:29:41.156
<v Speaker 1>saw this little piece of paper. Something was on my mind,

0:29:41.316 --> 0:29:44.036
<v Speaker 1>you know, bothering me, and this little peace scrap of

0:29:44.156 --> 0:29:47.996
<v Speaker 1>paper fell out the trash basket and said, be not afraid.

0:29:50.436 --> 0:29:54.716
<v Speaker 1>If you're open and paying attention, He's gonna communicate with

0:29:54.796 --> 0:30:03.156
<v Speaker 1>you some kind of way. There's only one card enough future.

0:30:05.796 --> 0:30:07.516
<v Speaker 1>Some people want to know what's on the other side

0:30:07.556 --> 0:30:10.276
<v Speaker 1>of the mounain. Other to say whatever it is, leave

0:30:10.316 --> 0:30:15.316
<v Speaker 1>it over there today, My dear you get to find

0:30:15.396 --> 0:30:21.956
<v Speaker 1>out now. You know I told you once before, I

0:30:22.116 --> 0:30:25.276
<v Speaker 1>warn you, I would warn you again if these cards

0:30:25.276 --> 0:30:26.876
<v Speaker 1>are not like what you want them to be, I

0:30:26.956 --> 0:30:32.556
<v Speaker 1>can't change on account. Two. We're gonna turn the cards

0:30:32.596 --> 0:30:37.716
<v Speaker 1>over together at the same time. My heart is beating.

0:30:37.796 --> 0:30:54.436
<v Speaker 1>Is a security? Are you ready? One? And two? Oh

0:30:54.556 --> 0:31:04.796
<v Speaker 1>my gosh. The Six of Cups show us a picture

0:31:04.796 --> 0:31:12.516
<v Speaker 1>of a couple sitting compassionately close sleep. The love in

0:31:12.596 --> 0:31:15.236
<v Speaker 1>your life not being like it's supposed to be is

0:31:15.236 --> 0:31:17.036
<v Speaker 1>if you look at this picture here is I'm looking

0:31:17.076 --> 0:31:19.636
<v Speaker 1>at it. You're not even just looking at it. Your

0:31:19.676 --> 0:31:24.116
<v Speaker 1>mind is elsewhere on what you're doing. There is a

0:31:24.156 --> 0:31:27.716
<v Speaker 1>man out there for you. He sees you, but you're

0:31:27.756 --> 0:31:35.276
<v Speaker 1>just not looking at him. What do you think New

0:31:35.396 --> 0:31:40.556
<v Speaker 1>Orleans can teach us how we interact with one another?

0:31:42.196 --> 0:31:47.236
<v Speaker 1>Sometimes it's just like one big neighborhood. Hey darling, how

0:31:47.396 --> 0:31:51.476
<v Speaker 1>you doing? You know, like one big family, one big community,

0:31:53.236 --> 0:31:57.436
<v Speaker 1>from the heart to the low. I might just look

0:31:57.476 --> 0:31:58.916
<v Speaker 1>at you, say why don't you come by my house

0:31:58.956 --> 0:32:02.316
<v Speaker 1>and get some gumble and hoping you do, say that

0:32:02.596 --> 0:32:05.156
<v Speaker 1>you're reading my mind. You're reading my mind. I'm gonna

0:32:05.196 --> 0:32:08.756
<v Speaker 1>take in a class. When I made my first gumble

0:32:09.236 --> 0:32:18.516
<v Speaker 1>is a pure wreck, pure wreck? What because Gumbo's a

0:32:18.716 --> 0:32:23.556
<v Speaker 1>dish that you build on. If you burn it, you

0:32:23.676 --> 0:32:26.316
<v Speaker 1>gotta drove out the way and start a little again,

0:32:27.276 --> 0:32:40.716
<v Speaker 1>you know, So would you try my gumbo? The duality

0:32:40.756 --> 0:32:43.556
<v Speaker 1>of New Orleans is, you know, you part of your

0:32:43.596 --> 0:32:45.116
<v Speaker 1>brains out on Saturday, but you get up and go

0:32:45.156 --> 0:32:47.876
<v Speaker 1>to church on Sunday morning. So you know, it's that

0:32:48.516 --> 0:32:52.276
<v Speaker 1>pleasure and pain that you know, good and evil and

0:32:52.516 --> 0:32:54.636
<v Speaker 1>music is a soundtrack for both of those, you know,

0:32:54.756 --> 0:32:57.916
<v Speaker 1>for both sides of that coin. Well destrolls the quarter

0:32:58.036 --> 0:33:00.876
<v Speaker 1>processing or voodoo reading. I'm nearby on the corner of

0:33:00.956 --> 0:33:04.676
<v Speaker 1>Frenchman and Esplanade, hang out with music journalists Keith Sparrow, Jay,

0:33:05.076 --> 0:33:10.156
<v Speaker 1>Why Yeah, Why, James Andrews Great Trumpet, Blara Chriss. Keith

0:33:10.316 --> 0:33:12.556
<v Speaker 1>is the church key that unlocks all of the music

0:33:12.636 --> 0:33:14.596
<v Speaker 1>in this town. He used to be on a first

0:33:14.676 --> 0:33:17.396
<v Speaker 1>named basis with Fats Domino, which is fun if you

0:33:17.476 --> 0:33:21.076
<v Speaker 1>think about it. Is music confused like in the education system,

0:33:21.236 --> 0:33:23.556
<v Speaker 1>or is it just really coming from the ground up

0:33:23.636 --> 0:33:25.676
<v Speaker 1>in this town? Or well, you know, New Orleans is

0:33:25.716 --> 0:33:28.436
<v Speaker 1>one of those rare places where it's still cool to

0:33:28.516 --> 0:33:31.276
<v Speaker 1>play a trumboe you know, like so, I mean, yeah,

0:33:31.276 --> 0:33:32.996
<v Speaker 1>so kids come up here and you know, the marching

0:33:33.036 --> 0:33:35.156
<v Speaker 1>bands are considered cool. So you're out there with your

0:33:35.236 --> 0:33:37.316
<v Speaker 1>kids and you hear these brass bands that have this

0:33:37.756 --> 0:33:40.436
<v Speaker 1>kind of beat. So all that music is kind of

0:33:40.516 --> 0:33:47.916
<v Speaker 1>imprinted on your brain from an early age. There's a sense,

0:33:48.116 --> 0:33:50.996
<v Speaker 1>I think of authenticity, you know, of being a New

0:33:51.156 --> 0:33:53.716
<v Speaker 1>Orleans musician. The music just has a different feel. You know,

0:33:53.796 --> 0:33:55.516
<v Speaker 1>you have to be here, you have to drink the

0:33:56.076 --> 0:34:00.156
<v Speaker 1>questionable water and you know, soaking the humidity over the summers.

0:34:00.236 --> 0:34:02.356
<v Speaker 1>I mean, there is a there is an intangible quality

0:34:02.396 --> 0:34:04.716
<v Speaker 1>that you get from playing here. All right. So here

0:34:04.756 --> 0:34:09.276
<v Speaker 1>we are at the Blue Nile Carbon. He's got guys

0:34:09.316 --> 0:34:14.956
<v Speaker 1>are here doing up podcast. Everyone said, if we had

0:34:14.996 --> 0:34:19.636
<v Speaker 1>to stop by and see you, Oh yep, that's the

0:34:19.876 --> 0:34:23.076
<v Speaker 1>Kermit Ruffins, the trumpet player. Maurice told us about who's

0:34:23.076 --> 0:34:26.276
<v Speaker 1>happy to play in his own backyard tonight. His backyard

0:34:26.356 --> 0:34:28.596
<v Speaker 1>is the famous Blue Nile Club. Real quick, where are

0:34:28.596 --> 0:34:30.796
<v Speaker 1>you gonna play tonight? For we never know what we're

0:34:30.836 --> 0:34:32.836
<v Speaker 1>gonna do. Well, we always thought it was some New

0:34:32.956 --> 0:34:35.356
<v Speaker 1>Orleans flavor and then may do a little bit of

0:34:35.436 --> 0:34:37.956
<v Speaker 1>hip hop and be bop in between, ending with some

0:34:38.076 --> 0:34:40.396
<v Speaker 1>good old second laf. We already got our wristbands. We're

0:34:40.396 --> 0:34:53.996
<v Speaker 1>gonna got in the wood. You guys coming in. It

0:34:54.116 --> 0:34:56.236
<v Speaker 1>doesn't take long for Kermit to cast a spell over

0:34:56.316 --> 0:34:59.716
<v Speaker 1>the crowd. I started swaying along to the music, and

0:34:59.836 --> 0:35:02.556
<v Speaker 1>before we know it, he's played two full sets and

0:35:02.676 --> 0:35:06.316
<v Speaker 1>it's one am. It doesn't feel like one hand though.

0:35:06.956 --> 0:35:09.996
<v Speaker 1>New Orleans is like a big casino, no clocks and

0:35:10.156 --> 0:35:13.156
<v Speaker 1>no windows. Time escapes you, and that's how it works here.

0:35:13.276 --> 0:35:15.116
<v Speaker 1>But I, on the other hand, I am well aware

0:35:15.116 --> 0:35:16.436
<v Speaker 1>of the time because I know what time my kids

0:35:16.476 --> 0:35:18.516
<v Speaker 1>are going to be growing up. Tomorrow morning, I will,

0:35:18.636 --> 0:35:20.516
<v Speaker 1>I think, call it a night here on Frenchman Street.

0:35:20.596 --> 0:35:22.876
<v Speaker 1>All right, so tomorrow we're gonna throw a dinner party.

0:35:22.996 --> 0:35:26.756
<v Speaker 1>Would you think about joining us. We're learning how to

0:35:26.756 --> 0:35:33.236
<v Speaker 1>make gumbo. You know, I am a little bit uneasy

0:35:33.356 --> 0:35:37.956
<v Speaker 1>with the idea of first time gumbo makers, and I

0:35:38.076 --> 0:35:40.956
<v Speaker 1>think I have a family commitment. Very diplomatic. Off, you're

0:35:41.036 --> 0:35:45.756
<v Speaker 1>very diplomatic. Well, good luck with it, thank you. As

0:35:45.796 --> 0:35:48.956
<v Speaker 1>I head off into the early morning hours. My confidence

0:35:48.996 --> 0:35:51.356
<v Speaker 1>in our gumbo enterprise Is that an all time low?

0:35:52.196 --> 0:35:54.276
<v Speaker 1>Why was I so sure my cooking abilities were a

0:35:54.356 --> 0:35:57.516
<v Speaker 1>match for a regional specialty because I'd once cooked spaghetti

0:35:57.556 --> 0:36:01.556
<v Speaker 1>in Brooklyn? Who was I to think I could parachute

0:36:01.596 --> 0:36:05.356
<v Speaker 1>into this legendary city and nail at signature dish? Was

0:36:05.436 --> 0:36:07.596
<v Speaker 1>I know better than a sorit having a reunion and

0:36:07.676 --> 0:36:12.036
<v Speaker 1>a plantation. I'm about to google and Dewey sausage when

0:36:12.076 --> 0:36:13.876
<v Speaker 1>I hear a familiar voice from the balcony of an

0:36:13.956 --> 0:36:19.436
<v Speaker 1>upstairs bar. I head up and find Danielle with a

0:36:19.476 --> 0:36:22.796
<v Speaker 1>couple of kids in their twenties. Daniel Danielle, what has

0:36:22.796 --> 0:36:27.676
<v Speaker 1>happened over here? Um? I saw this beautiful couple across

0:36:27.756 --> 0:36:31.596
<v Speaker 1>the street, and I encourage them to kiss my shouting

0:36:31.676 --> 0:36:34.676
<v Speaker 1>at them like literally forced us. And then for some reason,

0:36:34.716 --> 0:36:37.596
<v Speaker 1>the entire bar forced us too. I want to make

0:36:37.676 --> 0:36:40.476
<v Speaker 1>sure that the youth of the America. No, they should

0:36:40.476 --> 0:36:42.716
<v Speaker 1>be making out as much as possible. You're having fun.

0:36:43.036 --> 0:36:45.636
<v Speaker 1>I'm having a fucking blast. I'm shouting people for a

0:36:45.676 --> 0:36:56.436
<v Speaker 1>balcony Roman Coakes and tequila. I was the one who

0:36:56.516 --> 0:37:01.596
<v Speaker 1>was gonna get drunk this episode. Oh wait, you're the drummer.

0:37:01.956 --> 0:37:03.876
<v Speaker 1>You're so cute You're like a cute little wares of

0:37:03.916 --> 0:37:07.316
<v Speaker 1>wall though. He thanks the guy walking away with the tuba.

0:37:07.756 --> 0:37:10.476
<v Speaker 1>The guy just ran out with the tuba. Look at you.

0:37:10.556 --> 0:37:13.436
<v Speaker 1>You're like a beautiful lion. Get in there and have

0:37:13.556 --> 0:37:16.476
<v Speaker 1>some fucking fun. Look at this lion. Whereas some people

0:37:16.556 --> 0:37:21.116
<v Speaker 1>get aggressive when they drink tonight, Danielle just seems aggressively loving,

0:37:21.236 --> 0:37:29.236
<v Speaker 1>angel faith live, gorgeous, beautiful people. You are gornil. All

0:37:29.276 --> 0:37:31.356
<v Speaker 1>I'm here is to make sure that you're making out tonight.

0:37:31.876 --> 0:37:34.316
<v Speaker 1>What's your type? How can I help you? I can't

0:37:34.356 --> 0:37:38.516
<v Speaker 1>help you have fun and wear condom? Alright, you do

0:37:38.716 --> 0:37:43.396
<v Speaker 1>not need more, baby you. I'm signing up. I'm signing off.

0:37:43.556 --> 0:37:47.836
<v Speaker 1>Don't sign off. Come here hand. Cannot believe you're not

0:37:47.956 --> 0:37:51.676
<v Speaker 1>walking down the street with someone. My girlfriend's out, Call

0:37:51.756 --> 0:37:54.476
<v Speaker 1>her and take her out for a drink. You're tiredness

0:37:54.516 --> 0:38:00.276
<v Speaker 1>to work, you're too young to be bucking wired up. Yeah,

0:38:00.276 --> 0:38:02.756
<v Speaker 1>I think I gotta go sleep. Oh it's be so bad.

0:38:02.796 --> 0:38:30.276
<v Speaker 1>What are you looking at? You want to go? It's Sunday,

0:38:31.036 --> 0:38:34.916
<v Speaker 1>our last day in town. Danielle feels like death warmed over.

0:38:35.836 --> 0:38:37.836
<v Speaker 1>So it's fitting that we're visiting one of the city's

0:38:37.876 --> 0:38:42.076
<v Speaker 1>famous cemeteries. This is Saint Louis number two. You go

0:38:42.236 --> 0:38:44.156
<v Speaker 1>that way to gate lock on that side, I keep

0:38:44.236 --> 0:38:48.476
<v Speaker 1>them gatelock. Could it dying to get in here? You

0:38:48.636 --> 0:38:51.836
<v Speaker 1>said that before you got that right, y'all be capped,

0:38:52.316 --> 0:38:54.916
<v Speaker 1>see you later. The crypts are above ground here because

0:38:54.956 --> 0:38:58.236
<v Speaker 1>we're below sea level summer, as high as twelve feet tall,

0:38:58.276 --> 0:39:00.476
<v Speaker 1>and have grass growing on top waving in the wind.

0:39:01.476 --> 0:39:04.956
<v Speaker 1>Sounds from the nearby highway. Ricochets are the gravestones. I

0:39:05.116 --> 0:39:08.436
<v Speaker 1>like this one because it says widow Marie MiG Lean.

0:39:09.596 --> 0:39:11.076
<v Speaker 1>I just like that they have widow in there and

0:39:11.156 --> 0:39:13.836
<v Speaker 1>she died at a hundred years old. And at the

0:39:13.876 --> 0:39:20.596
<v Speaker 1>bottom it says regret, regret, just regret. I'm going to

0:39:20.676 --> 0:39:26.956
<v Speaker 1>have regret, but it's gonna have an s no matter

0:39:27.076 --> 0:39:30.196
<v Speaker 1>what happens in my love life. I'm one hundred percent

0:39:30.236 --> 0:39:37.316
<v Speaker 1>having widow. Danielle Henderson put on years ago an X

0:39:37.436 --> 0:39:39.876
<v Speaker 1>of mine. She had just broken up with a person

0:39:39.956 --> 0:39:42.356
<v Speaker 1>she was going to be married to, and I was like,

0:39:42.436 --> 0:39:44.516
<v Speaker 1>I'm really sorry that happened. She's like, oh, it's just natural.

0:39:44.676 --> 0:39:46.596
<v Speaker 1>She's like, men are afraid of death, so they're afraid

0:39:46.636 --> 0:39:50.396
<v Speaker 1>to commit. Like if you settle that's one step closer

0:39:50.436 --> 0:39:51.996
<v Speaker 1>to death. Went to you like, this is where I live,

0:39:52.116 --> 0:39:54.796
<v Speaker 1>this is my family than the next couple stops down

0:39:54.836 --> 0:39:59.556
<v Speaker 1>the road death. As someone who is not committed and

0:39:59.716 --> 0:40:02.436
<v Speaker 1>as a certain age, that phrase has stuck with me.

0:40:03.996 --> 0:40:06.196
<v Speaker 1>I feel like New Orleans in some way makes the

0:40:06.316 --> 0:40:10.076
<v Speaker 1>fundamentals of life more vivid, which are like pleasure and

0:40:10.356 --> 0:40:13.436
<v Speaker 1>then the ultimate sadness. I think it's a good way

0:40:13.436 --> 0:40:18.436
<v Speaker 1>to put it. What is this the three x's that's

0:40:18.436 --> 0:40:23.396
<v Speaker 1>a marker of a voodoo grave? O the voodoo reading.

0:40:24.276 --> 0:40:28.836
<v Speaker 1>Do you think that is affecting your cemetery experience here now? Like? Actually,

0:40:28.876 --> 0:40:30.636
<v Speaker 1>if anything, it's making me a little bit more calm.

0:40:31.796 --> 0:40:35.076
<v Speaker 1>Madam Cinnamon made it a point to tell me before

0:40:35.116 --> 0:40:38.396
<v Speaker 1>she turned over a couple of the cards that you know,

0:40:38.556 --> 0:40:40.916
<v Speaker 1>she can't control what the card says, but if it's

0:40:40.956 --> 0:40:43.596
<v Speaker 1>something that I see that I don't like, that it's

0:40:43.676 --> 0:40:46.636
<v Speaker 1>up to me to change it. That's interesting. The first

0:40:46.676 --> 0:40:48.876
<v Speaker 1>part sounds anxiety producing, like I'm gonna flip this and

0:40:48.916 --> 0:40:50.716
<v Speaker 1>it's going to say something that could be really eerie,

0:40:51.516 --> 0:40:53.796
<v Speaker 1>but it also she then affirms you by saying you

0:40:53.836 --> 0:40:56.676
<v Speaker 1>have agency. Yeah, it was really it was a very

0:40:56.756 --> 0:41:00.156
<v Speaker 1>intense reading. I mean, I keep saying that, but I mean,

0:41:00.196 --> 0:41:02.196
<v Speaker 1>obviously it was an intense reading because I love you

0:41:02.276 --> 0:41:03.956
<v Speaker 1>and I've party with you, and I've never seen you

0:41:04.076 --> 0:41:07.316
<v Speaker 1>party like you partied last night. That was a little

0:41:07.356 --> 0:41:11.116
<v Speaker 1>bit off off the rails. He I made so many friends,

0:41:11.476 --> 0:41:13.476
<v Speaker 1>you did. You made this world better. You might have

0:41:13.556 --> 0:41:15.956
<v Speaker 1>even made children like there made people who may have

0:41:16.036 --> 0:41:18.836
<v Speaker 1>gone home. I never want to be responsible for that.

0:41:18.996 --> 0:41:21.036
<v Speaker 1>I'm sorry to anyone who might per create as a

0:41:21.036 --> 0:41:23.996
<v Speaker 1>result of my asking them to make out a little

0:41:24.556 --> 0:41:33.196
<v Speaker 1>little Mary statue to be around somewhere. Our time in

0:41:33.236 --> 0:41:36.836
<v Speaker 1>the city's nearly over, but of course there's one last

0:41:36.876 --> 0:41:41.396
<v Speaker 1>thing we have to do. Locals here might not eat

0:41:41.436 --> 0:41:45.396
<v Speaker 1>everybody's gumbo, but they definitely eat this guy's. I think

0:41:45.396 --> 0:41:47.436
<v Speaker 1>I think about it, maybe like as soon as I

0:41:47.556 --> 0:41:49.956
<v Speaker 1>wake up. Maybe the last thing, you know, think about

0:41:50.076 --> 0:41:51.636
<v Speaker 1>this is waking up at a minute night, like, oh

0:41:51.716 --> 0:41:56.116
<v Speaker 1>my god, gumbo. You know. Jordan Ruins owns the famous

0:41:56.236 --> 0:41:59.436
<v Speaker 1>Munch Factory restaurant. It's where Beyonce and her husband come

0:41:59.476 --> 0:42:02.116
<v Speaker 1>when they want a bowl of the regional specialty. And

0:42:02.316 --> 0:42:04.716
<v Speaker 1>now he's gonna try to teach the Beyonce and mister

0:42:04.796 --> 0:42:08.836
<v Speaker 1>Beyonce of travel Podcasting. How to make it? You need crabs,

0:42:09.556 --> 0:42:12.276
<v Speaker 1>you need shrimp. What I do for my gumbo? I

0:42:12.356 --> 0:42:14.956
<v Speaker 1>make a dark room. No, you need at least three

0:42:15.036 --> 0:42:19.676
<v Speaker 1>or four hours for all the ingredients to actually come together. Look,

0:42:19.716 --> 0:42:22.236
<v Speaker 1>I had a hard night last night. I was drinking fiercely.

0:42:22.876 --> 0:42:27.036
<v Speaker 1>Oh you got the New Orleans experience. Huh four hour

0:42:27.196 --> 0:42:31.396
<v Speaker 1>dish man. Can we just buy some gumbo from you

0:42:31.596 --> 0:42:35.156
<v Speaker 1>and pass it off as ours? That's fine, do what

0:42:35.276 --> 0:42:38.996
<v Speaker 1>you want, do what you want. Look, ye, thank you

0:42:39.116 --> 0:42:51.396
<v Speaker 1>so much. I'm gonna get your gumbo one. Thank you

0:42:51.476 --> 0:42:55.516
<v Speaker 1>for having me. This is Becca. Be very nice to

0:42:55.556 --> 0:42:58.796
<v Speaker 1>meet you. Thanks for joining us. Do you can partake

0:42:58.836 --> 0:43:02.916
<v Speaker 1>of the gumbo we made today? Oh? I'm very excited

0:43:03.116 --> 0:43:12.876
<v Speaker 1>we made ar The moment of truth finally arrives. I

0:43:12.956 --> 0:43:14.876
<v Speaker 1>mean you can tell gumb about looking at it. I saw,

0:43:14.876 --> 0:43:17.516
<v Speaker 1>I was like, all right, dark, nice, dark rue, sizeable

0:43:17.556 --> 0:43:20.156
<v Speaker 1>amount of sausage. That's how I like it. The meadheads,

0:43:20.156 --> 0:43:22.276
<v Speaker 1>that's sort of that coating on it. So it's perfect.

0:43:22.316 --> 0:43:25.156
<v Speaker 1>Thank you. It seemed like our dinner party guests. We're

0:43:25.156 --> 0:43:33.316
<v Speaker 1>falling for our little ruse. Until did you ride us out? Daniel? Yeah?

0:43:33.676 --> 0:43:37.796
<v Speaker 1>Oh man. But it was such a cute story. How

0:43:38.716 --> 0:43:40.796
<v Speaker 1>I mean, you might asp want to like make like

0:43:41.076 --> 0:43:48.916
<v Speaker 1>blowfish soup. It's good. This is a word gumbo. So

0:43:49.036 --> 0:43:51.396
<v Speaker 1>we gotta get some world lead us together over gumbo

0:43:51.636 --> 0:43:53.796
<v Speaker 1>that was solved out of problems, you think, So, oh yeah,

0:43:57.076 --> 0:43:58.836
<v Speaker 1>we might not have learned how to make dark rue,

0:43:59.596 --> 0:44:01.396
<v Speaker 1>but our trip to New Orleans did give us a

0:44:01.436 --> 0:44:05.276
<v Speaker 1>new take on a perfect travel recipe. It goes like this,

0:44:06.316 --> 0:44:10.276
<v Speaker 1>so like choice local ingredients, combine with curiosity and mirth,

0:44:11.076 --> 0:44:14.756
<v Speaker 1>add a little voodoo and vodka hurricanes to taste. Stood

0:44:14.796 --> 0:44:20.276
<v Speaker 1>for forty eight hours alongside good companionship and voila. So

0:44:20.476 --> 0:44:23.076
<v Speaker 1>my my EndNote is that you know, one day, hundreds

0:44:23.076 --> 0:44:26.716
<v Speaker 1>of years from now, somebody in a submarine is gonna

0:44:26.716 --> 0:44:29.236
<v Speaker 1>be floating around in the Gulf Mexico and they're gonna

0:44:29.356 --> 0:44:32.116
<v Speaker 1>they're gonna see like the turrets of Saint Louis Cathedral

0:44:32.116 --> 0:44:34.596
<v Speaker 1>and no good, what is this? What was this place?

0:44:35.316 --> 0:44:37.476
<v Speaker 1>And then somebody will figure out that was New Orleans.

0:44:38.516 --> 0:44:41.556
<v Speaker 1>But there's no sadness in that because we created jazz,

0:44:41.756 --> 0:44:43.916
<v Speaker 1>we created a lot of other stuff that spread throughout

0:44:43.916 --> 0:44:47.596
<v Speaker 1>the entire world, so it can never really die. And

0:44:48.156 --> 0:45:25.956
<v Speaker 1>that's us. The lead producer on this episode of Not

0:45:26.116 --> 0:45:29.956
<v Speaker 1>Lost was Crystal du Haim. The show was also produced

0:45:30.036 --> 0:45:33.476
<v Speaker 1>and written by me Brendan Francis Newnham. Our associate producer

0:45:33.636 --> 0:45:36.676
<v Speaker 1>was Jackson Musker. Our story editor for this episode was

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<v Speaker 1>Mira Bert. When Tonic note, I mispronounced her name the

0:45:40.316 --> 0:45:43.476
<v Speaker 1>first couple episodes. That's the importance of an editor right there,

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<v Speaker 1>I apologize, Mira. The show was sound designed and mixed

0:45:47.036 --> 0:45:51.716
<v Speaker 1>by Crystal du Haim and mastered by Hannas Brown. A

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<v Speaker 1>big thanks to my friend and this episode's travel partner,

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<v Speaker 1>Daniel Henderson. Not Lost is a co production of Pushkin Industries,

0:45:59.276 --> 0:46:03.516
<v Speaker 1>Topic Studios, and iHeartMedia. It was developed at Topic Studios.

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<v Speaker 1>The show's executive producers are me Christy Gressman, Maria Zuckerman,

0:46:08.596 --> 0:46:13.036
<v Speaker 1>Lisa Gang, and La Tom Mulade. Production assistants on this

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<v Speaker 1>episode also came from Jacob Smith, Amy Gaines and Julia Barton.

0:46:17.956 --> 0:46:21.636
<v Speaker 1>Our theme song was created by Alexis Georgiopolis aka ARP

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<v Speaker 1>and a big thank you to everyone who welcomed us

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<v Speaker 1>in New Orleans. Doctor Joey Banner and Whitney Plantation, Becca Havens,

0:46:30.516 --> 0:46:35.156
<v Speaker 1>Kathy Lewis at Saint Augustine Church, Keith Sparra, Kermit Ruffins

0:46:35.156 --> 0:46:38.876
<v Speaker 1>and the Blue Nile Club, Priestess Madam Cinnamon Black and

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<v Speaker 1>the Historical Voodoo Museum, and Maurice Carlos Ruffin. I recommend

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<v Speaker 1>you grab yourself a copy of Maurice's books, The Ones

0:46:46.076 --> 0:46:48.836
<v Speaker 1>Who Don't Say They Love You and We Cast the Shadow.

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<v Speaker 1>He's pretty darn good at what he does. And speaking

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<v Speaker 1>of great major thanks are in order to Jordan Ruez

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<v Speaker 1>and Munch Factory Restaurant for the truly delicious gumbo. Thanks

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<v Speaker 1>for saving me for myself. Guys, if you want to

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<v Speaker 1>see pictures of where we went or learn about any

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<v Speaker 1>of our guests, head to not lasshow dot com. And

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<v Speaker 1>if you are still listening to this show, you are

0:47:12.036 --> 0:47:15.676
<v Speaker 1>fantastic and you might probably have extra moment to head

0:47:15.716 --> 0:47:18.916
<v Speaker 1>to Apple Podcasts and rate and review us. It really

0:47:19.436 --> 0:47:21.836
<v Speaker 1>does us a lot of good. Such a small thing

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<v Speaker 1>and it means a lot. Learn more about Topic Studios

0:47:25.276 --> 0:47:28.716
<v Speaker 1>at topic studios dot com. To find more pushkin podcasts,

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<v Speaker 1>listen on the iHeartRadio app, Apple podcasts, or wherever you

0:47:32.236 --> 0:47:35.996
<v Speaker 1>listen to podcast. I'm Brendan Francis, Newnham. Until next time,

0:47:36.716 --> 0:47:37.156
<v Speaker 1>voyage