Debbie Elliott, NPR
Stoney B., a self-proclaimed "local neighborhood blues man," performs music in the French Quarter.
Debbie Elliott, NPR
Jennifer Culpepper and her chihuahua "Beep" at Chiwawa Gaga.
Debbie Elliott, NPR
Author Roy Blount, Jr. tries on a dog sock at New Orleans "dinky dog" shop Chiwawa Gaga.
Listen: <b>Web Extra</b>: Roy Blount reads from 'Feet on the Street' at New Orleans' Garden District Book Shop
With its food, music and joie de vivre, the city of New Orleans jazzes the senses like no other. Humorist Roy Blount, Jr. celebrates some of the more eccentric corners and characters of the city in a new book of meandering tales called Feet on Street: Rambles around New Orleans.
Blount takes Debbie Elliott for a stroll through the French Quarter.
Excerpt from 'Feet on the Street'
Since the Mississippi flows generally south from its origin in Minnesota to the Gulf of Mexico, you expect a town on the river to be on the east bank or the west. But at New Orleans the river flows eastwardly, sort of, so New Orleans is on the north bank, sort of. On the other side of the river is an area known, to be sure, as West Bank, but most of it lies either south or east of the river. On a map you can see: if the river were straight, New Orleans would be almost horizontal, right to left, east to west, between the river to the south and Lake Pontchartrain (as big as Rhode Island) to the north. But the river is crooked. The best known parts of New Orleans form a sort of tipped-forward S along bends in the river, from Uptown and the Garden District through Downtown, the French Quarter, and on around eastward into Fauxborg Marigny and the Bywater. Within this S, Uptown is south (upriver) and Downtown north (downriver), because the river takes a northerly hitch. However, the part of the Quarter that is farthest downtown is referred to as the upper Quarter, though I have heard it called the lower.
So when I tell you that I am pretty damn sure that in 1998, during Hurricane Georges, I saw the river, at least the topmost layer of it, flowing backward (because the wind was blowing so hard southerly along that northerly hitch), you can see why I might not be absolutely sure.
It was late and I was by myself at the time, nobody else was around. And I was feeling let down, because although the wind was blowing hard, and half the population had been evacuated, and thousands who'd stayed had been herded into the Superdome for their safety, and my friend Greg Jaynes and I had taken refuge in the shuttered-up Burgundy Street home of my friend Curtis Wilkie, it was clear that this was not going to be the Big One: the full force of Georges was going to miss us.
We knew this from Nash Roberts. Nash Roberts is a veteran New Orleans TV weatherman who is low-tech, at least by way of presentation, and always right. Nash was broadcasting from his own house, it looked like, tracing the hurricane with a grease pencil on a sheet of Plexiglas or a pad of paper, I forget which, while the other channels' meteorologists were using all manner of laser pointers and rear-projected electronic schematic representations of the area. You couldn't tell what in the world Nash was scribbling with the grease pencil, but as usual he was the first to make the call, this one's going to miss us, and he was on the money.
So I felt I could venture outside and take a look at the river, and when I did, it was going backward. I'm pretty damn sure.
Ordinarily, at any rate, when you face the river from the French Quarter you'll see the river flowing from your right to your left. As recently as the late sixties, early seventies, when Kermit Ruffins was a kid in New Orleans—he's a fixture in the city now as a jazz musician—he'd catch crabs from the river, to eat. "Get some string, tie a chicken leg on it, and when that string get real tight, pull in real slow—scoop 'em up and put 'em in the bucket. End of the day we might have a hundred, hundred-fifty crabs." You wouldn't want to eat anything out of the river here now; it's filthy with silt and petrochemicals. But it's a robust presence. John Barry, author of Rising Tide, a terrific book about the horrific flood of 1927 (which the New Orleans elite managed to divert onto poorer folks' lands) says the river is "perfect," as opposed to the imperfect people who try to make it behave. It's a little like the horse that the New Orleans "swamp blues" musician Coco Robichaux told me about, which kept walking into a post, over and over. "What are you doing trying to sell a blind horse?" somebody said. "He ain't blind," said the man who was trying to sell him. "He's just tough. He don't care."
The river is perfect because it doesn't care. It would just as soon drown New Orleans, or any other place, as not. But people, being imperfect, want to believe that it cares. People call it "Old Man River," "The Father of Waters." Big dirty thruster barreling into town.
And New Orleans, née La Nouvelle Orleans, is ready to take him on. Not "ready" in the sense that she has pulled herself together for their ultimate date yet (efforts are under way to figure out how to build a wall or something), but she wouldn't be herself if she were all squared away. Stephanie Dupuy, a native New Orleanian, once quoted Billy Wilder on Marilyn Monroe to relevant effect here. Stephanie and I were in Jennifer Flowers's club listening to her sing "Happy Birthday" in a breathy voice, and let it be said that she, who had a long affair with Bill Clinton, did not belabor the allusion by singing it explicitly to "Mr. President." Stephanie works out of the mayor's office, coordinating with people making movies in the city. She says that when movie people come to New Orleans, they say the same thing Meyer Lansky said when he discovered Batista's Cuba: "At last, a government I can work with." Stephanie knows Hollywood lore. She says that when people on the set of Some Like It Hot were complaining that Marilyn was always late, Wilder, the director, said this: "I have an aunt in Austria who is always on time. You want her to play the part?"
Orientation. You're in the French Quarter looking at the river. Now turn around and repeat this mnemonic: Dixie Cups, Rock 'n' Bowl, Ducks By Ruthie. The Dixie Cups were a sweet and snappy New Orleans trio, two sisters and a cousin, who knocked the Beatles off the top of the charts with "Chapel of Love" and had another big hit with "Iko, Iko," the old Mardis Gras chant. (New Orleans has a long history of musical families, the Boswells, the Nevilles, the Marsalises, Harry Connick Jr. and Sr.—senior having retired as the city's district attorney to appear as "the singing DA.") Rock 'n' Bowl is an uptown bowling alley (Mid-City Lanes) that is also where you can dance till all hours to, say, the zydeco stylings of Boozoo Chavis. And Ruthie is perhaps the most famous French Quarter character, who used to rollerskate around the Quarter followed by a string of ducks. D is for Decatur, C for Chartres, R for Royal, B for Bourbon, D for Dauphine, B for Burgundy (pronounced with the accent on gun), R for Rampart, the long streets of the Quarter in order.
The order of the short streets that cross the long ones may be borne in mind as follows: "C'mon, I'll Be Cool, Sugar, Take Something Off—Something Dainty, Some Underwear—Go, Baby, Everything!" Canal, Iberville, Bienville, Conti, St. Louis, Toulouse, St. Peter, Orleans, St. Ann, Dumaine, St. Philip, Ursulines, Governor Nichols, Barracks, Esplanade. To keep the sequence of the saint streets straight, remember, Louis, Peter, Ann, Philip: "Let's Party And Party." These are my own mnemonics, which may not suit everyone, but you are welcome to share them.
Excerpted from 'Feet on the Street: Rambles Around New Orleans' by Roy Blount, Jr. Used by permission of Random House.