A Quote by Chuck Berry

The gateway to freedom...was somewhere close to New Orleans where most Africans were sorted through and sold. I had driven through New Orleans on tour and I'd been told my great grandfather had lived way back up in the woods among the evergreens in a log cabin. I revived the era with a song about a coloured boy named Johnny B. Goode. My first thought was to make his life follow as my own had come along, but I thought it would seem biased to white fans to say 'coloured boy' and changed it to 'country boy'.
So the mayor of New Orleans would have used his own buses had the people had been white?
I've been through so much, especially coming from New Orleans where there was Hurricane Katrina in 2005. I had to pick up. We had to move, make new friends, and I think my family was just strong for me as well because we had to start completely over again.
People fight in New Orleans about what's the best po'boy, and Domilise's always comes up. It's the best one I've ever had.
Bruno opened his eyes in wonder at the things he saw. In his imagination he had tough that all the huts were full of happy families, some of whom sat outside on rocking chairs in the evening and told stories about how things were so much better when they were children and they'd had nowadays. He thought that all the boys and girls who lived there would be in different groups, playing tennis or football, skipping and drawing out squares for hopscotch on the ground. As it turned out, all the things he thought might be there-wern't.'' -The boy in the striped Pajamas
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.
I have a love-hate relationship with New Orleans, which is the strongest sort of relationship. I've had some extraordinary, beautiful, poetic experiences in this city and I've had some terrible experiences in this city. I'm drawn to New Orleans, in many ways feel I grew up in New Orleans, even though I'm from the West.
I always had this idea that, 'Sure, I wished I was a boy and felt more like a boy and all of that.' But I wasn't, so I would deal with it. And I for some reason thought there were other lesbians that felt that way and that was just part of that community.
My family's business was actually an amusement park in New Orleans. My grandfather had started that, and my grandmother was a dance maven in New Orleans. It was just the theatricality and the Mardi Gras and the pageantry that I fell in love with at an early age.
The idea of going to the movies made Hugo remember something Father had once told him about going to the movies when he was just a boy, when the movies were new. Hugo's father had stepped into a dark room, and on a white screen he had seen a rocket fly right into the eye of the man in the moon. Father said he had never experienced anything like it. It had been like seeing his dreams in the middle of the day.
Who will cry for the little boy, lost and all alone? Who will cry for the little boy, abandoned without his own? Who will cry for the little boy? He cried himself to sleep. Who will cry for the little boy? He never had for keeps. Who will cry for the little boy? He walked the burning sand. Who will cry for the little boy? The boy inside the man. Who will cry for the little boy? Who knows well hurt and pain. Who will cry for the little boy? He died and died again. Who will cry for the little boy? A good boy he tried to be. Who will cry for the little boy, who cries inside of me?
In 1972, I recorded Gumbo, an album that was both a tribute to and my interpretation of the music I had grown up with in New Orleans in the 1940s and 1950s. I tried to keep a lot of the little changes that were characteristic of New Orleans, while working my own funknology on piano and guitar.
Mother love has been much maligned. An over mothered boy may go through life expecting each new woman to love him the way his mother did. Her love may make any other love seem inadequate. But an unloved boy would be even more likely to idealize love. I don't think it's possible for a mother or father to love a child too much.
Sherman made the terrible discovery that men make about their fathers sooner or later... that the man before him was not an aging father but a boy, a boy much like himself, a boy who grew up and had a child of his own and, as best he could, out of a sense of duty and, perhaps love, adopted a role called Being a Father so that his child would have something mythical and infinitely important: a Protector, who would keep a lid on all the chaotic and catastrophic possibilities of life. ~Tom Wolfe
The boy, who did everything well and with a natural unslumped grace the wraith himself had always lacked, and whom the wraith had been so terribly eager to see and hear and let him (the son) know he was seen and heard, the son had become a steadily more and more hidden boy, toward the wraith's life's end; and no one else in the wraith and the boy's nuclear family would see or acknowledge this, the fact that the graceful and marvelous boy was disappearing, right before their eyes. They looked but did not see his invisibility.
One of the most special things about the city of New Orleans is how diverse a people we really are. There's been a new generation of individuals that have all grown up together, so I don't really see myself as a White mayor. I've never seen New Orleans as a Black city.
It's time for us to come together. It's time for us to rebuild New Orleans - the one that should be a chocolate New Orleans. This city will be a majority African American city. It's the way God wants it to be. You can't have New Orleans no other way. It wouldn't be New Orleans.
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