A Quote by Jelly Roll Morton
The sporting houses needed professors, and we had so many different styles that... it wouldn't make any difference that you just came from . . . whatever your tunes were over there, we played them in New Orleans.
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New Orleans is like my blood; it's not going anywhere. And then I just take different things that I've learned over the years and add them to what I'm doing with the natural New Orleans sound.
While I was designing my home, I was living in different houses all around the world, and I saw thermostats that were just as bad as the ones in the U.S., or houses that needed them but didn't have them. I realised that this was a worldwide problem. I thought, 'Let's fix it.'
In this country, it doesn't make any difference where you were born. It doesn't make any difference who your parents were. It doesn't make any difference if, like me, you couldn't even speak English until you were in your twenties.
The oyster was an animal worthy of New Orleans, as mysterious and private and beautiful as the city itself. If one could accept that oysters build their houses out of their lives, one could imagine the same of New Orleans, whose houses were similarly and resolutely shuttered against an outside world that could never be trusted to show proper sensitivity toward the oozing delicacies within.
For me what was amazing was consumerism of people survived after Katrina. You see in a yard that the SUV is gone but they left the Ferrari or the more expensive car because it just wasn't practical. They couldn't get all their stuff in it. So you see this beautiful car totally destroyed; motorcycles. You walk into these houses - we were with the New Orleans police when they would go into the houses - we'd go through these houses and we were just amazed at how much stuff that had been accumulated and how much was left behind.
I don't know that I would have the courage to come over to a new country where the religion is different, the language is different, where I don't have any money. The thought of starting over like that in the way that many refugee families have to start all over again - that's an incredible thing to think about. One of the things I tell about Refugee is that unless you're Native American or a descendant of slaves, your family immigrated to this country - whether they came over on the Mayflower or whether they came over on a raft last year.
I knew hundreds and hundreds of women like me, who had traveled in and out of prison in a revolving door. They needed support and help just like I had received. And it could make a difference, just like it had made a difference in my life. I wanted to see them come back to the community and have a chance at a different life, too.
The seven of us on board [the Space Shuttle] represented five different religions. But we were all agreed - it just doesn't make sense how people on earth treat each other. It doesn't make any difference what language we speak. It doesn't make any difference what country we come from. It certainly doesn't make any difference what the color of our skin is. We are all children of God traveling on spaceship earth together.
There's a difference between the blues of the New Orleans guys and anyone else and the difference is in a chord, but I can't figure the name of it. It's a different chord, and they all make it.
I've played guitar in so many different styles, and I want to revisit them all.
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.
I never thought that I would be creating my own 'cross-over' genre. What I did was very real and organic. I have worked in so many different styles so it all just came together.
I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'
I love writing, composing and producing music. It's what I enjoy doing most in life and I create so much material that crosses over so many different styles that it would be virtually impossible to release all under one name/project. That's mainly why I like to create aliases and work on production for other artists as well. It just make sense. I just want to be able to have an outlet for all the different styles of music that I like working in.
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'm 67 years old now. I've had a lot of good teachers over the years; and they have been very, very different from one another. They all had passion for what they were doing, but their styles were unique to them as individuals.
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