A Quote by Chris Rose

Everybody here has a story. New Orleans was always a place where people talked too much even if they had nothing to say. Now everyone's got something to say. — © Chris Rose
Everybody here has a story. New Orleans was always a place where people talked too much even if they had nothing to say. Now everyone's got something to say.
When I am introduced as someone from New Orleans, people sometimes say: "I'm so sorry." New Orleans. I'm so sorry. That's not the way it was before,not the way it's supposed to be. When people find out you're from New Orleans, they're supposed to tell you about how they got drunk there once, or fell in love there, or first heard the music there that changed their lives. At worst people would say: "I've always wanted to go there." But now, it's just: "I'm sorry." Man, that kills me. That just kills me.
You've got different people that have different views of New Orleans. When you say 'New Orleans,' you have people who just think of the Neville Brothers. You've got people that think of Louis Armstrong. You say 'New Orleans,' and you've got people that think of Lil' Wayne.
Essence is something I always enjoy, because I love New Orleans. Since they brought it back to New Orleans, it's a special place to me. We been doing it since the beginning. We did it when it was in Houston, but there's nothing like New Orleans.
New Orleans cats don't play a lot of solos unless they got something to say. It's not an ego thing like it is with some other musicians. You say what you gotta say and then shut up.
I never think of people's nationality too much. I always look at everybody the same. It's impossible for me to just say one group of people over separate groups of people. Maybe it's because I was raised in New York City which is this melting pot. Everybody was always the same and the whole point of my whole film existence was to say that we're just one race.
In America, there might be better gastronomic destinations than New Orleans, but there is no place more uniquely wonderful. ... With the best restaurants in New York, you'll find something similar to it in Paris or Copenhagen or Chicago. But there is no place like New Orleans. So it's a must-see city because there's no explaining it, no describing it. You can't compare it to anything. So, far and away New Orleans.
I should have said something. ... But my mouth wouldn't open, and the longer I stood there in silence, the better I can to understand the problem. It wasn't that I had nothing to say to him. It was that I had too much to say.
I get up in front of a bunch of kids and say 'Hey, I'm gonna tell you a new story. Who wants to be in a new story?' Well some kid always sticks up their hand and that gives me a name, but it doesn't give me a story. I just say whatever comes to my mind and usually it's not that good. Every once in a while, however, I say something that turns into a really good story.
People always think that when they grew up it was better. The people who went to Studio 54 say, "Oh, this is nothing!" or "The Limelight is nothing. In our day it was much better." But I mean, it's always great. It's always fresh to the kids. And to me, you've just got to make it happen. You can't be a downer and say, "This is nothing like the roaring 20s."
Everywhere I go around the world, we have fans of New Orleans. Sometimes we go places, and people don't really know who we are, but they know New Orleans, and once we say we are from New Orleans, we have a lot of supporters.
The question of Israeli apartheid was anathema a decade ago. Now it's even talked about by top Israeli officials, who say - they differ on the timing: We say it's already there; they say that if we don't do something different, we're going to face apartheid.
When I got to college, the fake ID thing wasn't that important, since pretty much everyone could get away with drinking in New Orleans. But the drugs, well, that was a different story altogether, because drugs are every bit as illegal in New Orleans as anywhere else--at least, if you're black and poor, and have the misfortune of doing your drugs somewhere other than the dorms at Tulane University. But if you are lucky enough to be living at Tulane, which is a pretty white place, especially contrasted with the city where it's located, which is 65 percent black, then you are absolutely set.
I like historical fiction. I fell in love with New Orleans the first time I visited it. And I wanted to place a story in New Orleans.
I've had so much success. I had something to say, I got to say it, people heard it, and they agreed. That's every artist's dream. That's the brass ring.
I don't have to do much. What I was surprised at and the challenge was that dealing with an ensemble cast who are in scenes together everyday all day, that is a challenge. It's a challenge to make sure everyone get as much coverage and attention, it got just kind of competitive. I loved it because it made it funnier, but the improv went nuts. People were like, "Oh wait. I have something better to say." "Now, I'm going to say..."
Everyone in New Orleans has been welcoming me as family. Everywhere I go, they always say, 'Put on for the city, baaay-bee.'
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