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FunTranscript
00:00:00 He gets out of that situation and it shows you that the building is still there
00:00:04 He comes back after all those years of success and thanks his friends his people for teaching him
00:00:09 Well, that's Louie as a grown man and a successful musician
00:00:14 he came back and thanked those people and he left that jail or
00:00:18 Juvenile Hall and went back to that bad situation at 14 years old 13, whatever
00:00:25 Daddy didn't go on mama's prostitute halftime part-time. He got it bad. So he gets a job
00:00:31 He 13
00:00:33 So he goes to this brick building on Rampart Street not far from City Hall and Pedido Street
00:00:39 Where it's owned by a Lithuanian Jewish family in the middle of the black community. You heard about these people?
00:00:44 That's what Nafsky
00:00:46 You can't write this you cannot he said I need a job. They said really? Okay, you're gonna deliver cold to Storyville
00:00:54 You're gonna do this. You're gonna mop up you read he does
00:00:56 Is it one day the father said listen?
00:00:59 I want you to go with my son or the son and you take this cart and you wheel it around a neighborhood
00:01:04 You either sell these items or collect or do it draw attention to the business by blowing something
00:01:10 Musical on this tin. They called it a tin Christmas a toy
00:01:15 So when they're out they starts blowing the Sun says
00:01:19 How do you get that sound
00:01:24 out of a tin toy
00:01:26 So he takes him back to the father father Konopsy said whoa
00:01:31 And he grabbed Lulu. He must be 13 and a half and he takes him to the pawn shop on Pedido and
00:01:38 South Rampart where he shot the gun
00:01:41 And got arrested and buys put five dollars down on his first home
00:01:46 Get him his first home. The rest is history. He's adopted by Lithuanian Jewish family
00:01:54 And he starts putting relish on his beans and rice
00:01:57 You can't write it he's turning Jewish
00:02:01 So I can't write this if you look
00:02:05 He wrote in his memoirs, you know after it's said and done. He said the Kronosti showed me that could be a wonderful world after
00:02:12 Like his song and then underneath that outfit with a shooting tie you see him in movies and stuff
00:02:20 He's wearing the star baby
00:02:23 But right it was under the shirt you
00:02:26 How's this?
00:02:28 Now he left here and went to Chicago and changed the world. He was not one who
00:02:35 Who he didn't grow up in a vacuum? Yeah, buddy bold and you have other musicians here
00:02:40 But what he did was and you would understand this he most most jazz New Orleans jazz was ensemble
00:02:48 You had a lot of people playing the melody or whatever else but what he did is he broke it down
00:02:53 to the solo aspect and he created solo patterns and even and even
00:02:59 Individually did the did the melodies different he changed jazz and and when he gets out of here he goes to Chicago, Illinois
00:03:08 So now when he goes to Chicago
00:03:11 He changes it even further
00:03:15 Because he winds up getting called to New York
00:03:19 right in
00:03:21 1933 by Fletcher Henderson
00:03:23 the great black band leader in New York cream of the crop and
00:03:28 Then New York is a you know uptown black folk. They are sophisticated
00:03:32 Yeah, baby. This is what's going on
00:03:35 Fletcher Henderson came down south and heard him. He said oh
00:03:39 You coming with me
00:03:43 Take something to New York and introduced him to his big black
00:03:47 sophisticated jazz band
00:03:49 They look at him like who is this country boy?
00:03:51 Look at his shoes and he said no no
00:03:55 This man can swing the first time swing was mentioned in conjunction with jazz
00:04:03 He is the starter up because when he started playing his riffs
00:04:09 They all had to back up and go. Whoa. He's doing things we cannot do and they had instant respect for him
00:04:16 It's Fletcher Henderson wrote
00:04:18 He and his band they wrote these tunes. Well, you know passages progressions if you will
00:04:24 That went one way and another one on top of it and they played them
00:04:29 Louie's job was to come on top of those two tracks and play
00:04:34 melodies and
00:04:36 Solo patterns hence that is why swing music was at the height of jazz because it made you dance
00:04:43 It created the Lindy Hop
00:04:45 So therefore he is the one who made it happen and he influenced a lot of people
00:04:52 The most favorite one I like that he influences Billie Holiday. Now you all know who she was
00:05:01 Billie Holiday was 10 years old. No, she was 11 when she heard a particular song
00:05:08 by Louis Armstrong and it was called
00:05:12 Huh, it was called
00:05:16 Where is it it was called Oh
00:05:20 West West End Blues West End Blues if you've ever
00:05:28 heard it before. It's called West End Blues.
00:05:30 [Music]
00:05:32 [Music]
00:05:34 [Music]
00:05:36 [Music]
00:05:38 [Music]
00:05:40 (saxophone music)
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00:07:05 (saxophone music)
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00:09:11 (saxophone music)
00:09:14 (saxophone music)
00:09:18 - Very, she heard this as a child, put it that way.
00:09:21 And when she heard it, she said to somebody
00:09:25 and other people later in life,
00:09:27 when I heard the song, it made me say,
00:09:29 one day when I grow up, I'm gonna be a singer.
00:09:32 And I'm gonna pattern myself,
00:09:34 my singing after this man's trumpet.
00:09:38 She never said the way that he sang.
00:09:41 She said this man's trumpet.
00:09:43 And the song was West End Blues.
00:09:47 And here is West End Blues, if it comes on.
00:09:50 Oh, I got it.
00:09:52 This is it.
00:09:55 (saxophone music)
00:09:56 Billy Holiday heard this, 1925.
00:09:59 When he made this.
00:10:01 So you know this.
00:10:03 This is gorgeous.
00:10:05 People weren't doing that.
00:10:07 Mmm, that's him.
00:10:11 1925.
00:10:15 Little Billy Holiday's cleaning that house up.
00:10:20 She didn't say she wanted to sound like this trumpet.
00:10:22 Hey, boys, she said there's feeling in that trumpet
00:10:26 that I want to express with my voice.
00:10:29 To me, I think that's a sophisticated thing
00:10:31 for an 11-year-old girl to say.
00:10:33 Now, she wound up doing it.
00:10:35 In 1927, she made it to New York.
00:10:39 She was singing at the Cafe Society in the village
00:10:44 with a professor.
00:10:46 Across the river is a young man growing up
00:10:49 by the name of Frank Sinatra.
00:10:52 A poor boy from New Jersey.
00:10:54 He's noted as saying, "One day, when I grow up,
00:10:58 "I'm gonna be a singer."
00:10:59 Now, she was not a classically trained musician.
00:11:03 And neither was Frank Sinatra.
00:11:05 But he said he wanted to emulate the voice
00:11:09 and the tone and the delivery like Billy Holiday.
00:11:14 ♪ When the moon's kinda dreamy ♪
00:11:18 ♪ Starry-eyed and dreamy ♪
00:11:22 ♪ And nights are luscious and long ♪
00:11:27 ♪ If you're kinda lonely ♪
00:11:31 ♪ And all by your own will ♪
00:11:35 ♪ Then nothing but the blues are brewing ♪
00:11:40 ♪ The blues are brewing ♪
00:11:45 ♪ When the wind through the willow ♪
00:11:51 ♪ Blows across your pillow ♪
00:11:55 ♪ And tells you sleeping is wrong ♪
00:12:00 ♪ If love goes a-thirsting ♪
00:12:04 ♪ 'Til you feel like bursting ♪
00:12:08 ♪ Then nothing but the blues are brewing ♪
00:12:13 ♪ The blues are brewing ♪
00:12:18 ♪ Suppose you want somebody ♪
00:12:24 ♪ But you ain't got nobody ♪
00:12:27 ♪ You only got a gleam in your eye ♪
00:12:32 ♪ 'Til somebody's found you ♪
00:12:37 ♪ And puts their loving arms around you ♪
00:12:40 ♪ You got the feeling you want to die ♪
00:12:45 ♪ But when the Lord up above you ♪
00:12:50 ♪ Sends someone to love you ♪
00:12:53 ♪ The blues are something new ♪
00:12:58 ♪ Your soul is doing ♪
00:13:03 ♪ Things that you're doing ♪
00:13:06 ♪ That love ain't got no time for blues ♪
00:13:11 ♪ The blues are ♪
00:13:14 - And he wound up doing it.
00:13:16 They were not perfect singers,
00:13:18 but they could deliver on the lyrics.
00:13:21 And that is what he kept doing,
00:13:24 just the way he accented his own.
00:13:27 Now, many people around the world
00:13:29 got influenced by him.
00:13:33 But then there was Mahalia Jackson.
00:13:36 You've heard of her?
00:13:39 Man, I've heard of her.
00:13:41 Gospel.
00:13:42 Listen to this.
00:13:43 - I know I know that name, but I don't know why.
00:13:47 - Mahalia Jackson was a gospel singer.
00:13:57 The greatest of the last century.
00:14:01 (rain falling)
00:14:03 - This is Mahalia Jackson.
00:14:20 - You are within 20 years of retirement.
00:14:25 - Mahalia Jackson.
00:14:25 - But you're already retired.
00:14:26 All of your hard earned savings now could--
00:14:30 (rain falling)
00:14:32 ♪ Show me your love ♪
00:14:50 ♪ Take my hand ♪
00:15:00 ♪ Show me your love ♪
00:15:03 - She was born in 1911.
00:15:08 11 years after Louis Armstrong.
00:15:12 But she grew up around here,
00:15:14 and she saw them as a little girl.
00:15:17 King Oliver, all the great black jazz musicians.
00:15:20 She saw 'em.
00:15:21 She did gospel.
00:15:24 She is from Watertown, Water or whatever,
00:15:28 Watertown front somewhere,
00:15:30 but she's from New Orleans, right?
00:15:33 When she's growing up here,
00:15:35 she leaves this place.
00:15:37 Because by 1927, she's 15 years old.
00:15:40 And she said, "I had to leave New Orleans."
00:15:46 Because this was deep, general cross out.
00:15:48 You know what that meant?
00:15:50 Legalized segregation.
00:15:52 - That's tough.
00:15:53 - Well, legalized segregation did not start in Mississippi.
00:15:57 It started here in Prince George.
00:15:59 Because of Homer Plessy.
00:16:01 Plessy versus Ferguson, the case of Poussé-Rodriguez.
00:16:06 - He lived on Moray Street.
00:16:08 He's from tonight.
00:16:10 - Exactly, exactly.
00:16:12 He's from that street over there.
00:16:15 He lost his court case on a whites only section
00:16:18 on a train on Plessy Street in Royal.
00:16:21 And he lost his court case in Jackson Square,
00:16:24 and he's buried in that cemetery we gonna pass by.
00:16:28 See, everything--
00:16:29 - Was there any man that looked white,
00:16:30 but was black?
00:16:31 - Let me show you who he really was.
00:16:34 His father,
00:16:35 no, grandfather was from Saint-Domingue.
00:16:42 He was half French and half--
00:16:45 (baby crying)
00:16:48 Right.
00:16:49 They came from Saint-Domingue.
00:16:51 The Haitian Revolution.
00:16:53 His grandfather.
00:16:55 So when they come over here,
00:16:56 you have a mixed race person.
00:16:59 But under the laws here,
00:17:01 that made you a person of color worthy of discrimination.
00:17:05 So that's who he really was.
00:17:07 He was a shoemaker.
00:17:08 He was married in that church over there.
00:17:13 This was his place.
00:17:17 And he was a combination of French and African blood.
00:17:21 That's what it was.
00:17:22 So now, who else was here?
00:17:25 Wait a minute, she leaves this place.
00:17:28 Because she goes like this.
00:17:30 I don't wanna stay in New Orleans
00:17:31 because the only thing left for me to do
00:17:33 is take care of white people's children for a living.
00:17:35 She said that.
00:17:37 So I leave.
00:17:38 So she went to Chicago.
00:17:40 And this is the funny part,
00:17:42 even in the documentary, she's funny.
00:17:44 She explains it.
00:17:46 She gets out at Union Station or wherever, Chicago,
00:17:49 and to get a cab.
00:17:51 The first cab she sees is a white man driving.
00:17:54 So in her mind, it's not gonna happen.
00:17:57 No.
00:17:58 She come from Jim Crow South.
00:18:00 This is what happened.
00:18:01 Cab driver stops.
00:18:02 (imitates car horn)
00:18:04 He gets out.
00:18:05 He goes around to the side where,
00:18:08 passes the side, opens the door for her.
00:18:10 Grabs her bag,
00:18:12 and takes him to the trunk,
00:18:14 and puts him in the trunk.
00:18:15 And she's going,
00:18:16 (laughs)
00:18:19 "What the hell?"
00:18:20 You know what I'm saying?
00:18:21 "This ain't supposed to be happening!"
00:18:23 (laughs)
00:18:25 This is funny because now she's in cosmopolitan Midwest.
00:18:28 It's a little different reality than Jim Crow South.
00:18:31 So now she face more problems from some of her own people.
00:18:35 Because when you go up there being black and from the South,
00:18:39 you're expected to shed some of your Southern weight
00:18:44 to fit into what now the black folks going up there
00:18:48 are doing the cakewalk.
00:18:50 They're trying to adopt middle class white values.
00:18:52 They have churches on the South side of there,
00:18:56 at this time.
00:18:57 They're called Silver Stocking Churches.
00:19:00 Which means that you come in as a black person,
00:19:02 there's no syncopated rhythm,
00:19:05 there's no call and response.
00:19:08 There's nothing.
00:19:10 You are singing white hymnals
00:19:12 at a certain level of your tone of your voice.
00:19:16 They're entertaining.
00:19:18 Enter her!
00:19:21 She trying to work there as a musician and sing.
00:19:23 They go, "Get the hell out!"
00:19:26 (laughs)
00:19:28 Yes!
00:19:30 Because she maintained everything she had.
00:19:33 So she had a problem.
00:19:36 But then she meets Thomas Dorsey.
00:19:38 I don't know if you've ever heard of this person.
00:19:40 He is the, he and she are the beginners
00:19:43 of the gospel movement in America.
00:19:46 Because there's a Pilgrim Baptist Church in Chicago,
00:19:49 where he gets a job as the musical director.
00:19:52 But he was Ma Rainey's piano player.
00:19:55 You ever heard of Ma Rainey, the Empress of the Blues?
00:19:57 Deep down, dirty blues.
00:19:58 Chicago 1920s, he was writing for her.
00:20:01 Then he has religious experience.
00:20:04 No more of the devil's music.
00:20:05 I'm pleased, for the Lord.
00:20:08 So he tries to go into the churches
00:20:09 as an organist and a piano player,
00:20:11 and they say, "Wait a minute.
00:20:13 "We don't know the difference of you
00:20:16 "between Saturday night and Sunday morning with you."
00:20:19 'Cause he was bringing in them blues scores
00:20:22 into the church.
00:20:23 And see, that's a no-no in black society.
00:20:26 You don't mix the devil with the Lord.
00:20:31 You don't do it.
00:20:34 They beat you up.
00:20:35 Now, you know who got away with it?
00:20:38 Ray Charles.
00:20:38 You know that.
00:20:40 'Cause Ray Charles was basically throwing the blues
00:20:44 into the gospel and made a lot of money.
00:20:46 But this is why I think he did this.
00:20:48 He knew the consequences of being black and doing something.
00:20:52 He got away with it because he was blind.
00:20:56 (laughing)
00:20:57 He was blind, and he knew what he was doing,
00:21:00 'cause he's thinking,
00:21:02 "Ain't nobody gonna kick a blind man's ass."
00:21:04 That's what he thought!
00:21:06 That's why he was out there laughing.
00:21:07 Ah, ah, all the time.
00:21:10 He knew they wasn't gonna kick his ass.
00:21:12 (laughing)
00:21:14 And he got away with it, you know?
00:21:17 But she had a problem,
00:21:21 but they eventually got into the churches.
00:21:24 And Thomas Dorsey invented modern gospel movement
00:21:29 in that city, and then it was primarily because of her.
00:21:34 Because he walked into her office one day and auditioned.
00:21:38 This is them practicing in Chicago.
00:21:41 That's Mahalia Jackson and him.
00:21:45 And together, they took the music out of the church
00:21:48 into the marketplace.
00:21:49 They created a whole gospel industry.
00:21:51 ♪ I'm on my way ♪
00:21:59 ♪ To Canaan Land ♪
00:22:02 ♪ I'm on my way ♪
00:22:05 ♪ Oh, to Canaan Land ♪
00:22:09 ♪ On my way ♪
00:22:12 ♪ Canaan Land ♪
00:22:15 ♪ On my way ♪
00:22:17 ♪ Glory, hallelujah ♪
00:22:18 ♪ I'm on my way ♪
00:22:21 ♪ Well, I'm on my way ♪
00:22:24 ♪ To Canaan Land ♪
00:22:28 ♪ I'm on my way ♪
00:22:30 ♪ Oh, to Canaan Land ♪
00:22:34 ♪ On my way ♪
00:22:37 ♪ To Canaan Land ♪
00:22:40 ♪ On my way ♪
00:22:42 ♪ Glory, hallelujah ♪
00:22:44 ♪ I'm on my way ♪
00:22:47 ♪ I had a mighty hard time ♪
00:22:50 ♪ But I'm on my way ♪
00:22:53 ♪ I had a mighty hard time ♪
00:22:57 ♪ On my way ♪
00:23:00 ♪ Mighty hard time, Lord ♪
00:23:03 ♪ On my way ♪
00:23:06 ♪ On my way ♪
00:23:08 ♪ Glory, hallelujah ♪
00:23:09 ♪ On my way ♪
00:23:12 ♪ Now, if you don't go ♪
00:23:15 ♪ Don't you hinder me ♪
00:23:18 ♪ If you won't go ♪
00:23:22 ♪ Please don't hinder me ♪
00:23:25 ♪ If you won't go ♪
00:23:28 ♪ Don't hinder me ♪
00:23:32 ♪ On my way ♪
00:23:33 ♪ Glory, hallelujah ♪
00:23:35 ♪ On my way ♪
00:23:38 ♪ I had to pray so hard ♪
00:23:41 ♪ Lord, I'm on my way ♪
00:23:44 ♪ I had to pray so hard ♪
00:23:47 ♪ But I'm on my way ♪
00:23:50 ♪ Had to pray so hard ♪
00:23:54 ♪ On my way ♪
00:23:57 ♪ On my way ♪
00:23:59 ♪ Glory, hallelujah ♪
00:24:01 ♪ I'm on my way ♪
00:24:03 ♪ You know I'm falling and rising ♪
00:24:07 ♪ But I'm on my way ♪
00:24:10 ♪ You know I'm falling and rising ♪
00:24:13 ♪ Yes, I'm on my way ♪
00:24:16 ♪ I'm falling and rising ♪
00:24:20 ♪ On my way ♪
00:24:23 ♪ On my way ♪
00:24:25 ♪ Glory, hallelujah ♪
00:24:26 ♪ I'm on my way ♪
00:24:29 ♪ You know I'm on my way, Lord ♪
00:24:32 ♪ To Canaan Land ♪
00:24:35 ♪ Yes, I'm on my way ♪
00:24:39 ♪ To Canaan Land ♪
00:24:42 ♪ On my way ♪
00:24:45 ♪ Canaan Land ♪
00:24:49 ♪ On my way ♪
00:24:50 ♪ Glory, hallelujah ♪
00:24:52 ♪ I'm on my way ♪
00:24:55 - And as she had, now,
00:24:58 he got frustrated with her though,
00:25:01 because he write these songs
00:25:03 and she never sang them the same twice.
00:25:06 And he's like, "But baby, I wrote this.
00:25:08 "I don't do that with your voice."
00:25:10 She couldn't help it because she had jazz in her.
00:25:14 That's what jazz and them holy mistrutches.
00:25:19 She never let it go.
00:25:21 But once again, that comes from here.
00:25:24 So she had all these people who loved her
00:25:26 and they give her money.
00:25:29 Al Capone.
00:25:31 On the South Side, no, he lived in Sicily.
00:25:34 Had a big mansion.
00:25:35 He would give her money to come to this house
00:25:38 and sing on Sunday, have church in my living room.
00:25:42 Make me feel good.
00:25:43 After I done had 15 people killed that week.
00:25:47 How you gonna kill 15 people
00:25:50 and have church on Sunday, God?
00:25:51 And paid her, right?
00:25:53 But the biggest person that she attracted,
00:25:56 in many people's opinion, was Martin Luther King.
00:26:00 See, Martin Luther King heard her music.
00:26:01 He said, "Oh, wow, this lady's voice sends me places."
00:26:05 She was in Salmon, Alabama to march with him.
00:26:08 No, not even with him.
00:26:09 And he approached her and he said,
00:26:11 "Well, how much do you charge to sing for the Walkers?"
00:26:15 She said, "I don't charge for the Walkers, honey."
00:26:17 Whoa, they became infamous later.
00:26:19 And after that, he brought her into the Civil Rights Movement.
00:26:24 So he would be places getting shot at,
00:26:28 thrown in jail, all this.
00:26:30 He would go to the motels and call her at night
00:26:33 before he went to bed and ask her to sing that song,
00:26:35 Precious Lord, for him before he went to sleep.
00:26:37 You see how close the connection was?
00:26:40 And then one day they were at the march on Washington,
00:26:44 no, not the march on Washington,
00:26:45 in Salmon, Alabama at a Civil Rights Conference at a church.
00:26:48 A woman by the name of Partia Hall,
00:26:50 a black woman who was an educator
00:26:52 and a Civil Rights leader and a minister.
00:26:55 She's speaking.
00:26:56 And he's in there with her.
00:26:59 And she keeps saying, "I have a dream in her speech."
00:27:02 Martin Luther King goes up to Partia Hall and says,
00:27:04 "I'm Martin," so on and so forth.
00:27:06 "Can I use what you just did in my word?"
00:27:09 She said, "Yes."
00:27:10 So go to, flash to the Civil Rights Movement.
00:27:13 No, big speech.
00:27:15 March Washington?
00:27:18 Right.
00:27:19 It's a speech of the century.
00:27:21 This is how it happened.
00:27:23 First of all, he had her,
00:27:25 and you can punch this up on YouTube.
00:27:26 He had her open that day,
00:27:28 the whole ceremony with the New Orleans Dirt.
00:27:31 She sang in acapella.
00:27:33 I'm talking her.
00:27:34 She opened it up.
00:27:35 I've been buked, the song or whatever.
00:27:37 She sits there behind Martin Luther King
00:27:40 with other people, and he starts speaking.
00:27:42 And all these, millions of people,
00:27:45 and the speech sucks.
00:27:47 It sucks.
00:27:48 It's not good.
00:27:49 And she's sitting in the two rows back,
00:27:52 and she's, she put her face in.
00:27:56 "You're blowing it, man!"
00:27:57 (laughing)
00:27:58 "Yeah, he's real loud!"
00:28:00 "You're blowing it!"
00:28:01 And he's up there in front of other people.
00:28:03 "What?"
00:28:04 Tell him about the dream speech.
00:28:07 She kicked him into that.
00:28:08 And then we have a speech of the century.
00:28:12 Because of her.
00:28:13 They became very good friends.
00:28:14 She sang at his funeral and everything,
00:28:17 but I find it odd.
00:28:19 She changed gospel.
00:28:20 He changed jazz.
00:28:23 And there are so many other musicians
00:28:25 that come from this area.
00:28:27 They did all those things.
00:28:28 And they're all from this one area.
00:28:31 Now, did you catch a plane here?
00:28:33 - No, I drove.
00:28:34 - No, because on the way to the airport,
00:28:36 is her tomb.
00:28:42 On Airline Highway, she's buried near the airport.
00:28:47 It says, "Greatest gospel singer in the world."
00:28:50 She's buried here.
00:28:51 So again, all this comes out of New Orleans.
00:28:55 You understand?
00:28:56 And it's not a secret.
00:28:57 It's not an accident.
00:28:59 This place is historic.
00:29:00 Who knows what time it is by the way?
00:29:01 So I know what to do next.
00:29:03 - 328.
00:29:04 - Ooh!
00:29:05 Really?
00:29:06 - Yeah.
00:29:07 - To go with us, right?
00:29:08 Let's make move.
00:29:09 How you doing?
00:29:10 (laughs)
00:29:11 Let's go get some water.
00:29:12 (car engine roaring)
00:29:16 (people chattering)
00:29:19 (people chattering)
00:29:22 - Right here.
00:29:26 We're right here.
00:29:29 And this is the Mississippi.
00:29:32 And it's going down to the Gulf of Mexico, 75 miles.
00:29:36 Then,
00:29:39 you got a water table underneath.
00:29:42 There's a Lisa Lake Poncho tray.
00:29:44 Now,
00:29:48 this here,
00:29:49 the fact that the red,
00:29:51 that means that 12 to 13 or 15 feet of water
00:29:55 during Katrina.
00:29:56 That's what that is.
00:29:57 And that means that the levees were breached first
00:30:02 right here.
00:30:04 And the swamp came into the sea.
00:30:06 This is the devastation of Katrina.
00:30:08 Wherever you see red, that's where the 15 feet,
00:30:10 13 feet of water.
00:30:12 You know, on their roofs.
00:30:13 - So what happened on this side of the river?
00:30:16 - Well, that's where we're staying.
00:30:17 - Well, see, you're staying at Abenitas, Jefferson Parish.
00:30:21 That's right across the river.
00:30:22 - Yeah.
00:30:23 - Okay.
00:30:24 But the levees didn't break on this side.
00:30:27 See, that's, the levees breached here,
00:30:30 and the water went in there and broke.
00:30:33 And this was swampy.
00:30:34 No levees breached.
00:30:35 See, you know the problem here,
00:30:37 because the majority of New Orleans is
00:30:40 like eight to 10 feet below sea level.
00:30:44 That's a problem.
00:30:46 That's why.
00:30:47 That's so festive here.
00:30:49 - Live every day like it's your last.
00:30:52 - Because any one of these ships
00:30:54 breaking down the wrong levee, baby,
00:30:56 we might be swimming for our life after death.
00:30:59 And what that does is creates an imaginary,
00:31:05 I gotta get it in right now.
00:31:07 I better make something real good eat right now.
00:31:10 And I better,
00:31:11 I better make something good right now.
00:31:16 - I see, I see, I see.
00:31:17 - But this part here, though,
00:31:20 is where, this is not rake.
00:31:23 That means that we are on higher ground.
00:31:27 It's where the natives were.
00:31:29 But when you leave the French Quarter,
00:31:32 what they did is they built a city
00:31:34 on a snake infested swamp.
00:31:36 And what you do is you impact it.
00:31:38 And the rest of it is like 15 feet,
00:31:41 what, 10 or more left.
00:31:44 So we got a promise of being in a fish bowl.
00:31:47 And that's why they party so hard.
00:31:51 We gotta get it in, baby.
00:31:53 We gotta do this.
00:31:54 Because in reality, children get like
00:31:57 two weeks off of vacation for Christmas.
00:31:59 They get another week and a half of money, brother.
00:32:03 They're out of school.
00:32:06 You say, why?
00:32:07 Because some of these state constitutional children
00:32:09 have the native right to party.
00:32:11 You can't take that, brother.
00:32:13 You can't have that with a guy here.
00:32:16 - We have a parade here.
00:32:17 You know about the, you know the bike ride?
00:32:19 The week before the shindig, the big parade runs,
00:32:24 they have the Barkersburg.
00:32:26 You know what Barkersburg is?
00:32:28 Dogs.
00:32:29 Dogs on floats.
00:32:31 Dogs!
00:32:34 Dogs have to, come on.
00:32:36 Dogs, give me that.
00:32:38 This is legit.
00:32:39 This is legit.
00:32:41 Man, I had a lady I was dating from New York, right?
00:32:44 And she come and I said,
00:32:45 "Oh, baby, we're gonna go see you at a Barkersburg."
00:32:48 I said, "No."
00:32:49 I'm boycotting that.
00:32:50 She said, "Why?"
00:32:51 Because I was reading a paper the other day
00:32:53 and I found out that Grand Marshal was a damn chihuahua.
00:32:55 A chihuahua!
00:32:58 And his picture's in the paper.
00:33:00 And I said, "Get out of here."
00:33:02 I said, "Listen, this is a warning.
00:33:05 "Across this nation, everywhere,
00:33:07 "in dog parks across America,
00:33:09 "they're plotting to take us over.
00:33:12 "Don't sleep one minute.
00:33:14 "We're gonna wake up
00:33:16 "and there's gonna be a chihuahua in the Oval Office.
00:33:20 "He's gonna have one."
00:33:22 Fidel Castro has spoken to some barkeep times the size
00:33:25 of his head with two rock bottles on the side of him.
00:33:28 I'm not paying homage to no damn chihuahua.
00:33:30 And she said, "Oh, you're right, honey.
00:33:33 "They have a Napoleon in Congress."
00:33:35 I said, "No, baby, they are Napoleon."
00:33:37 They are Napoleon!
00:33:39 And a lot of people see everything here
00:33:41 as a contest to be competing with them music-wise
00:33:44 because it could all be over after dinner.
00:33:47 And we're on higher ground.
00:33:50 Therefore, you have a situation
00:33:55 where children, music included,
00:33:57 these are children's children, by the way.
00:34:02 It's a right of the people to be able to work
00:34:06 a brass ensemble, you see?
00:34:09 It's crazy.
00:34:11 It is in and out of the little kids.
00:34:13 I already know what that means by five years old.
00:34:17 She said, "In the brain for years."
00:34:18 Like, "Whoa, whoa, whoa, whoa, whoa.
00:34:20 "You should see some of these little kids, man,
00:34:22 "right around here,
00:34:24 "as seriously into this music."
00:34:28 And it's not like that anywhere in America
00:34:31 because if anything, our music programs are suckers.
00:34:36 I mean, when I started, after I got out of school,
00:34:39 it was like, "Whoa,"
00:34:39 they started bringing in programs and everything.
00:34:43 And from an African-American perspective,
00:34:45 it got worse because the kids ran to turntables
00:34:49 and started rapping on top of four bars of a James Brown song.
00:34:54 It's like stunting creativity.
00:34:58 So I'm saying, but here, they kicked it up
00:35:01 because it's in there.
00:35:04 It's so funny.
00:35:05 You got little kids, man,
00:35:07 and they're getting into this.
00:35:09 - I was hyper.
00:35:10 - And Louis Armstrong,
00:35:12 from down the street,
00:35:12 and John Taylor from down the street.
00:35:15 So this is where we are.
00:35:17 Make pots of train, all this.
00:35:21 And,
00:35:21 let's go see that story again.
00:35:25 I'm gonna have to talk you back to the first part.
00:35:29 So this, they say, "Oh, because of that."
00:35:32 Now, you know, have you heard of the Laurie Mansion?
00:35:35 - Yeah.
00:35:36 - That's where they took us yesterday.
00:35:38 - You saw that?
00:35:38 - Yeah.
00:35:39 - You know, he's worked on that property since,
00:35:44 did they tell you about Madame Delphine Lelonde?
00:35:46 - Yeah, yeah.
00:35:47 - American Horror Story's Kathy Bates.
00:35:49 That was the real place.
00:35:50 I got a picture of her.
00:35:52 This is her.
00:35:54 This is Madame Delphine Lelonde.
00:35:59 And she's the first one.
00:36:01 (upbeat music)
00:36:04 In America, where legalized prostitution was tried,
00:36:13 all this area to Canal Street,
00:36:18 basically all that area,
00:36:20 that's an aerial view of 1922.
00:36:23 Those were brothels.
00:36:24 Brothels.
00:36:26 Now, you're into the music scene.
00:36:28 There's a guy by the name of Jelly Roll Morton,
00:36:30 who was a great pianist here.
00:36:32 I got a photo of him in a club
00:36:35 on the other side of this fence
00:36:37 called the Josie Arlington Club, I think it was,
00:36:40 and at his first job as a piano player.
00:36:44 He's sitting at the piano
00:36:45 and those are the prostitutes dancing around him.
00:36:48 1900, baby.
00:36:49 He said, "You think this love?"
00:36:52 Well, you wanna work for that madam, though.
00:36:53 Look at that face.
00:36:55 "No!"
00:36:56 She's scary.
00:36:57 The madam is scary.
00:37:00 So, they were making their money here.
00:37:02 The back of town place where those musicians lived
00:37:06 was on the other side of the canal.
00:37:08 Louis Armstrong shot his gun off over there.
00:37:11 He got arrested.
00:37:12 They were coming over here to make their money.
00:37:15 And when you got off the train,
00:37:17 when you got off the train,
00:37:20 you bought the Blue Book.
00:37:24 The train was right here coming from Chicago.
00:37:27 The Blue Book, what does it say?
00:37:30 "Guide to pleasure for visitors to the,"
00:37:33 who does this?
00:37:37 And inside you got the book
00:37:38 of where the best musicians were,
00:37:40 where the finest ladies were.
00:37:42 Wait a minute, Basin Street Blues.
00:37:44 You ever heard that song?
00:37:46 Well, Basin Street Blues,
00:37:50 well, first of all, this is Basin Street.
00:37:53 Think about it.
00:37:54 Where we just were was water.
00:37:58 The slaves, look, the slaves dug that canal,
00:38:01 Basin Street Canal.
00:38:03 Where we just were was the turning basin.
00:38:06 The slaves dug the canal that went all the way
00:38:08 to City Park to the waterway that led you to Beloved.
00:38:12 You had ships coming in there,
00:38:15 and I got photographs of that.
00:38:18 You had ships actually coming in,
00:38:21 and this was the canal itself.
00:38:23 Look at that.
00:38:24 That was that canal down there.
00:38:26 You had ships coming in here doing business.
00:38:28 Hence, that was a turning basin.
00:38:30 It dried up in 1940.
00:38:33 So on the other side was the water
00:38:35 and the cemeteries and the gambling
00:38:37 and the houses of prostitution, all right here,
00:38:40 because the prostitution cropped up in Prince Quarter
00:38:44 and other places in New Orleans after the Civil War.
00:38:47 So the aldermen of this area, Sidney Storff,
00:38:51 go to the mayor and say,
00:38:52 "Hey, Mayor, why don't we put all the prostitutes
00:38:54 "in my neighborhood and make it legal?"
00:38:57 And I reckon it.
00:38:58 Story of it, look at that.
00:39:01 1897 and 1917, they operated freely this way.
00:39:06 That is Jelly Roll Mort but it's Creole Jazz band right there.
00:39:10 This is serious ground.
00:39:13 - Hot peppers.
00:39:14 - Yeah, the red hot peppers.
00:39:15 - They only changed one word in that.
00:39:18 I'm not gonna do it again.
00:39:19 - The chili peppers?
00:39:20 - Yeah, the red hot chili peppers.
00:39:22 I actually went to school with two of them.
00:39:26 - You did?
00:39:26 - Fairfax High School, Los Angeles.
00:39:28 - Wow.
00:39:29 - It wasn't free, it wasn't a bass player,
00:39:31 it was the guy playing the trumpet and the lead singer.
00:39:35 I used to see them performing in the crowd at lunchtime.
00:39:38 They were just us, they were just kids.
00:39:41 But they got big.
00:39:43 And they used to go to the Viper Room up on the--
00:39:45 Yeah, and the Viper Room was only on sunset.
00:39:50 I went to the Fairfax High School on Melrose.
00:39:53 Oh yeah.
00:39:54 - Not that far away.
00:39:55 - The chili peppers.
00:39:57 Now, what happens is, they have to take closest down
00:40:02 the government because five miles from here,
00:40:05 four, no, three miles down river is a Navy base.
00:40:09 And World War I, they built a Navy base.
00:40:14 So the government comes and says,
00:40:17 it is against federal law that you run these damn houses
00:40:21 over here with people within five miles of a Navy base.
00:40:25 They're shutting you down.
00:40:27 Oh, so these musicians went on this train
00:40:30 and went to Chicago once again,
00:40:32 they're spreading that jazz and did their work.
00:40:35 However, the city didn't want to close it down.
00:40:40 So they went to D.C. with their lawyers
00:40:45 to talk to the courts and the attorney general
00:40:48 with the defense.
00:40:50 Here's what's their defense on paper, legally.
00:40:52 They went to the front of the judge and said,
00:40:55 "Wouldn't this be a reason to have the problem
00:40:59 for the saver?"
00:41:02 That's what I was thinking.
00:41:03 No, but you don't go to court.
00:41:05 You go to court, the judge says,
00:41:11 "Who are these people?
00:41:13 Who are these people?"
00:41:15 They let the dogs out, they chased them to the train.
00:41:18 They say, "Get the hell out of here."
00:41:20 I mean, you go up there with a legal argument.
00:41:23 I think they should have it.
00:41:24 (laughs)
00:41:26 That's New Orleans for you.
00:41:27 This place closed down.
00:41:29 The musicians went to Chicago
00:41:31 and then they built these housing projects in 1940
00:41:35 because the house is dilapidated.
00:41:37 And the rest is history.
00:41:38 But this is story ground and this is New Orleans music.
00:41:41 And it's four o'clock, we finished on time.
00:41:43 (laughs)
00:41:45 Jazz was messed up from the start.
00:42:05 '77, an African is born in New Orleans.
00:42:07 His name's Charles "Buddy" Bolden.
00:42:09 Bolden is the father of jazz.
00:42:13 He plays cornet.
00:42:15 When he played it, they called it jazz.
00:42:19 J-A-S-S.
00:42:22 It's African slang for what makes a woman pregnant.
00:42:27 - Wait, what?
00:42:30 - Jazz.
00:42:31 It's African slang for what makes a woman pregnant.
00:42:34 Buddy Bolden playing.
00:42:35 (upbeat jazz music)
00:42:39 (upbeat jazz music)
00:42:42 ♪ You said you'd take me out ♪
00:42:46 ♪ Treat me fine ♪
00:42:48 ♪ But I know there's something ♪
00:42:51 ♪ In the back of your mind ♪
00:42:54 ♪ If you keep drinking ♪
00:42:56 ♪ You're gonna get fresh ♪
00:42:58 ♪ And you'll find out ♪
00:43:03 ♪ Don't you feel my love ♪
00:43:09 ♪ Don't you feel my leg ♪
00:43:11 - Hey, how y'all doing tonight?
00:43:13 Hey, that storm passing to the west of us
00:43:16 sure helped us out today on that temperature, man.
00:43:19 (laughs)
00:43:21 (upbeat jazz music)
00:43:26 (upbeat jazz music)
00:43:30 ♪ Truth in my head, shake that thing ♪
00:43:33 ♪ Who's that next thing I see ♪
00:43:36 ♪ Truth in my head, shake that thing ♪
00:43:38 ♪ Who's that next thing I see ♪
00:43:41 ♪ Mind is scared, you never saw ♪
00:43:43 ♪ She does some things against the law ♪
00:43:46 ♪ She took my fall right from my fall ♪
00:43:48 ♪ I'm one and I'm gonna know ♪
00:43:51 ♪ Wait for me on a Mardi Gras day ♪
00:43:54 ♪ Who's that next thing I see ♪
00:43:56 ♪ Wait for me on a Mardi Gras day ♪
00:43:59 ♪ Who's that next thing I see ♪
00:44:02 ♪ Truth in my head, show me some wine ♪
00:44:04 ♪ Who's that next thing I see ♪
00:44:07 ♪ Truth in my head, show me some wine ♪
00:44:09 ♪ Who's that next thing I see ♪
00:44:12 ♪ Truth in my head, drink some wine ♪
00:44:15 ♪ Who's that next thing I see ♪
00:44:18 ♪ Truth in my head, drink some wine ♪
00:44:20 ♪ Who's that next thing I see ♪
00:44:23 ♪ Truth in my head, I'm going around ♪
00:44:25 ♪ Looking for some cat to found ♪
00:44:28 ♪ Police put her right in jail ♪
00:44:31 ♪ I will get her on bail ♪
00:44:33 ♪ Truth in my head, the big fine thing ♪
00:44:36 ♪ Who's that next thing I see ♪
00:44:39 ♪ Truth in my head, the big fine thing ♪
00:44:41 ♪ Who's that next thing I see ♪
00:44:45 (upbeat music)
00:44:48 (upbeat music)
00:44:50 (upbeat music)
00:44:53 (upbeat music)
00:44:56 (upbeat music)
00:44:58 (upbeat music)
00:45:01 (upbeat music)
00:45:03 (upbeat music)
00:45:06 (upbeat music)
00:45:09 (upbeat music)
00:45:11 (upbeat music)
00:45:14 (upbeat music)
00:45:16 (upbeat music)
00:45:20 - Yeah, I kind of ignored that too.
00:45:21 - Hey. - Hey.
00:45:23 (upbeat music)
00:45:25 (upbeat music)
00:45:27 ♪ Truth in my head, show it's mine ♪
00:45:30 ♪ Who's that next thing I see ♪
00:45:33 ♪ Truth in my head, show it's mine ♪
00:45:35 ♪ Who's that next thing I see ♪
00:45:38 ♪ Truth in my head, drink some wine ♪
00:45:40 ♪ Who's that next thing I see ♪
00:45:43 ♪ Truth in my head, drink some wine ♪
00:45:46 ♪ Who's that next thing I see ♪
00:45:49 ♪ Truth in my head, I'm going around ♪
00:45:52 ♪ Looking for something that's too bad ♪
00:45:54 ♪ Only seven miles riding down ♪
00:45:57 ♪ I woke up ♪ - Careful.
00:46:00 ♪ Don't you mind if I make my day ♪
00:46:02 ♪ Who's that next thing I see ♪
00:46:05 ♪ Don't you mind if I make my day ♪
00:46:08 ♪ Who's that next thing I see ♪
00:46:10 - Nice. - Yeah.
00:46:12 - A little bit of psychology.
00:46:20 - From again, our friend Dave Bartholomew
00:46:23 who gave us that shrimp and gumbo.
00:46:25 He's gonna give us another great song here called The Monkey.
00:46:28 - I don't like the vibe, but right behind us,
00:46:31 this is the Madame John Legacy House.
00:46:34 And this is actually the house that a lot of scenes
00:46:37 of interviews of vampires were filmed in.
00:46:39 - Oh, what a place.
00:46:40 - So it is now, we're gonna go over there.
00:46:43 (upbeat music)
00:46:45 - Yeah.
00:46:49 - The monkey speaks his mind.
00:46:52 - Oh, my God.
00:46:55 Oh, everybody okay out here?
00:46:58 - Now, three monkeys sat in a coconut tree
00:47:01 discussing things as they are said to be.
00:47:06 Says one to the other, now listen you two,
00:47:10 there's a certain rumor that it be true
00:47:14 that man descended from our noble race,
00:47:18 their idea is a big disgrace.
00:47:21 No monkey ever deserted his wife or mother monkey
00:47:26 to leave the babies with others to bone
00:47:30 or pass them on from one to another
00:47:34 till they stately knew who was their mother, yeah.
00:47:38 The monkey speaks his mind.
00:47:46 And another thing you will never see,
00:47:49 a monkey built a fence around a coconut tree
00:47:54 and let other coconuts go to waste,
00:47:57 forbidding all other monkeys to come and taste.
00:48:02 Why if I put a fence around this tree,
00:48:06 starvation will force you to steal from me, yeah.
00:48:11 The monkey speaks his mind.
00:48:15 (upbeat music)
00:48:18 Here's another thing a monkey won't do,
00:48:22 go out at night and--
00:48:23 - Crossing Bourbon Street, we'll be back.
00:48:25 - Or use a gun or club or knife
00:48:28 to take another monkey's life.
00:48:32 Yes, man descended the weightless form
00:48:37 but brothers, from us he did not come, yeah.
00:48:43 The monkey speaks his mind.
00:48:46 (upbeat music)
00:48:49 - He's a satire.
00:48:51 - Dave Bartholomew, we've already heard two songs
00:48:54 from Dave Bartholomew.
00:48:55 He is the grandfather of rock and roll.
00:48:59 Really recorded at the end of this street on the left
00:49:02 on December 10th, 1949, Dave Bartholomew brought
00:49:06 a 21 year old Antoine Dominic Domino.
00:49:11 He recorded the fat man.
00:49:13 He walked in as Antoine, he walked out as fat.
00:49:17 December 10th, 1949, this is the first million selling
00:49:22 rock, yes indeed, this is the first million selling
00:49:25 rock and roll record.
00:49:26 You've been to Memphis, haven't you?
00:49:29 - I gave you some bad info, bro,
00:49:30 you should have took me with you.
00:49:32 (laughing)
00:49:33 - You know who my first partner in the music business was?
00:49:36 James Burton, James Burton played guitar
00:49:38 on Elvis' comeback tour in 1968
00:49:41 with Elvis in the TCB band until Elvis died.
00:49:45 They just featured James Burton at the Palladium in London.
00:49:50 Weekend before last, Sir Brian May with Albert Lee
00:49:55 with Ronnie Wood with Van Morrison, Sir Van Morrison.
00:50:00 - Yeah, that sounds a little off the roof.
00:50:05 - First million selling rock and roll record,
00:50:07 recorded December 10th, 1949.
00:50:10 I'm going to get a picture right now.
00:50:12 (upbeat music)
00:50:15 ♪ I was standing, I was standing on the corner ♪
00:50:19 ♪ Of a redwood, in the now ♪
00:50:23 ♪ I was watching, watching ♪
00:50:26 ♪ Watching all the people gather ♪
00:50:31 ♪ Wa wa wa, wa wa ♪
00:50:36 (upbeat music)
00:50:38 (upbeat music)
00:50:42 (upbeat music)
00:50:44 (upbeat music)
00:50:49 (upbeat music)
00:50:53 (upbeat music)
00:50:56 (upbeat music)
00:51:00 - Don't get run over, don't get run over.
00:51:07 (upbeat music)
00:51:09 (upbeat music)
00:51:12 (upbeat music)
00:51:15 (upbeat music)
00:51:17 ♪ I'm going, I'm going, going away ♪
00:51:43 ♪ I'm going, I'm going, going away ♪
00:51:47 ♪ 'Cause we've been in bad times ♪
00:51:50 ♪ We've had it so many times ♪
00:51:53 - We're getting ready to be up here at this corner.
00:52:03 It's also where Roy Brown recorded
00:52:05 Hey Hey There's Good Rockin' Tonight in 1950.
00:52:11 It's also where Professor Longhair recorded
00:52:15 Go to the Mardi Gras in 1949.
00:52:18 It's also where Little Richard recorded
00:52:22 The Eight Greatest Non-Words of Rock and Roll.
00:52:28 (upbeat music)
00:52:30 - It's really here.
00:52:34 - Right here.
00:52:35 (upbeat music)
00:52:39 (upbeat music)
00:52:42 (upbeat music)
00:52:44 (upbeat music)
00:52:47 (upbeat music)
00:52:57 (upbeat music)
00:53:00 (upbeat music)
00:53:02 (upbeat music)
00:53:05 (upbeat music)
00:53:16 (upbeat music)
00:53:23 (upbeat music)
00:53:30 (upbeat music)
00:53:32 (upbeat music)
00:53:43 (upbeat music)
00:53:47 (upbeat music)
00:53:50 (upbeat music)
00:53:53 ♪ Hey, to the booty, oh, booty ♪
00:54:04 ♪ To the booty, oh, booty ♪
00:54:06 ♪ To the booty, oh, booty ♪
00:54:09 ♪ To the booty, oh, booty ♪
00:54:11 ♪ To the booty, oh, booty ♪
00:54:14 ♪ I'm talkin' to my ♪
00:54:16 - You see, the Rock and Roll Hall of Fame
00:54:18 has declared it one of the 10 most important artifacts
00:54:21 in the history of rock and roll.
00:54:24 We can't step in for a moment.
00:54:26 It's still here.
00:54:27 ♪ I love you, yes, indeed ♪
00:54:30 ♪ Why you don't know what you're doing to me ♪
00:54:32 - Are you still here?
00:54:32 - We are still here.
00:54:34 - I'm not talking for you.
00:54:35 - I'm still here.
00:54:37 - I'm changing all of it.
00:54:39 - Oh, thank you.
00:54:41 - Thank you.
00:54:44 You're gonna come in and you'll be able to buy a hat
00:54:46 and then you go through stations
00:54:48 and decorate your own hat.
00:54:50 I'm already wearing a mask
00:54:51 and you go through stations
00:54:52 and decorate your own mask.
00:54:53 - This is Virginia, Hank.
00:54:55 - Hi, Hank.
00:54:56 - She does these wonderful line art drawings.
00:54:57 She owns the place.
00:54:59 She's talented.
00:55:00 Oh, this is what Hardy wants right here.
00:55:03 He's trying to make me buy him one of these.
00:55:06 - A snowball machine?
00:55:06 - Yeah.
00:55:07 ♪ I love you, yes, indeed ♪
00:55:08 ♪ Why you don't know what you're doing to me ♪
00:55:10 - No.
00:55:10 When you decide to buy one, we know.
00:55:14 'Cause I had this up for sale,
00:55:15 and I've been using it since this weather's been so hot.
00:55:19 - He might be just as happy to come down here
00:55:21 and be your clerk on it for 30 minutes or so.
00:55:23 You know what I mean?
00:55:24 It's like, I'll sit here and buy some juice, baby.
00:55:28 You know what I mean?
00:55:29 (laughing)
00:55:32 That's it, we're gonna go out,
00:55:32 hey, we're gonna do that.
00:55:35 I'm gonna say, hey.
00:55:36 - All the trash is gonna be out of here.
00:55:38 I finally have a place to send it.
00:55:40 They were telling me I need to wait until the 30th,
00:55:43 but all this mess that you're trying to show people around,
00:55:47 it should be out of here.
00:55:49 - This room is that recording studio.
00:55:58 They cut the slab.
00:56:00 In 1945, they cut the slab,
00:56:03 they put the engraving machine over there.
00:56:05 We see Little Richard.
00:56:07 We see Fats Domino.
00:56:08 We see Sam Phillips from Sun Records.
00:56:11 We see Ray Charles.
00:56:12 We see Professor Longhair.
00:56:14 Tommy Risley, Lloyd Price, Anthony Matassa.
00:56:17 10 years before Sam Phillips did anything,
00:56:20 Cosimo had this open.
00:56:22 He had Lloyd Price, who was the second million
00:56:25 selling rock and roll record,
00:56:26 before, you gotta realize,
00:56:29 Rocket 88 did not sell a million records.
00:56:32 ♪ La dee la dee la dee Miss Claudie ♪
00:56:36 Lloyd Price wrote that song, recorded it here in 1951.
00:56:41 In '52, it's released.
00:56:43 When Elvis records it, it sells 10 million.
00:56:46 Lloyd Price's version only sold a million.
00:56:48 It went to number one.
00:56:49 This is the home of rock and roll, Hank.
00:56:54 This is the treatment here, man.
00:56:59 It pays the dough people.
00:57:01 (machine whirring)
00:57:04 - Y'all know what flavor you want?
00:57:17 I have chocolate, wedding cake, cherry,
00:57:19 and Hawaiian egg custard,
00:57:22 which tastes like a dream zipper.
00:57:24 - That's what I want.
00:57:26 - Louis Armstrong told the world
00:57:30 he was born on the 4th of July, 1900.
00:57:34 It would be mighty appropriate
00:57:35 for the king of American music
00:57:37 to be born on our Independence Day.
00:57:40 Let us just agree,
00:57:41 it might have been his alliterative way of speaking.
00:57:47 Baptismal records discovered 15 years after Louis' death
00:57:51 indicate that Louis David Armstrong
00:57:53 was actually born on the 4th of August,
00:57:56 not the 4th of July.
00:57:58 In 1901,
00:58:00 who cares, right?
00:58:01 If he says he was born on the 4th of July,
00:58:05 and the record says he was born on the 4th of August,
00:58:07 guess what?
00:58:08 I celebrate all those days,
00:58:10 all 30 wonderful days,
00:58:12 July 4th 'til August 4th,
00:58:13 the 30 wonderful days of Louis Armstrong.
00:58:16 (laughing)
00:58:24 I knew that.
00:58:25 You know who the pop star Tori Amos is?
00:58:28 - Who?
00:58:29 - The pop star.
00:58:30 Louis,
00:58:38 - I'm gonna wait, I'm gonna wait.
00:58:39 - Born about 16 blocks from here,
00:58:42 400 block of South Rampart Street,
00:58:44 that same block that Buddy Baldwin was in
00:58:48 25 years before.
00:58:49 Arrested four times, married four times.
00:58:56 No correlation.
00:58:57 (coughing)
00:58:59 Moved to New York City,
00:59:06 moved to Chicago at 21,
00:59:08 moved to New York at 27,
00:59:15 the rest is history.
00:59:17 He's on to this continent.
00:59:20 19, excuse me,
00:59:22 1729,
00:59:27 - Hmm.
00:59:28 - B.M.Ville had introduced Code Noir,
00:59:31 the black code in 1726.
00:59:33 - Yeah.
00:59:34 - By 1729, hundreds of Africans would gather here on Sunday
00:59:37 and play drums in this park.
00:59:39 It's the first place the blues were transmuted
00:59:42 on this continent.
00:59:43 Come on Keith, everybody knows the blues is from Mississippi.
00:59:47 - Okay.
00:59:47 - You know what Mississippi was called in 1729?
00:59:51 La Luzianne,
00:59:52 headquarters at Novelle Bay,
00:59:56 Novelle Orleans.
00:59:58 You know what was in Mississippi in 1729?
01:00:01 Black bears and red people.
01:00:04 There wasn't any white people up there
01:00:06 to bring Africans up there.
01:00:08 There were no Africans there.
01:00:10 So it's not in 1936 when Robert Johnson supposedly is born.
01:00:14 You know, it's not, there's no,
01:00:17 - Oh, it's not 1936 when?
01:00:19 - Robert Johnson was born in Mississippi.
01:00:22 Have a good night, buddy.
01:00:25 - That's not the birth of the blues.
01:00:26 They've been playing those African rhythms here
01:00:29 for 200 years.
01:00:30 We're gonna go around the corner here.
01:00:35 We're gonna look, you gotta realize,
01:00:37 we're in the Fulburk Trombet.
01:00:39 This is the first African-American neighborhood
01:00:41 on this continent.
01:00:43 So it's no wonder that the blues
01:00:44 were first transmitted onto here.
01:00:46 A block away, those cars you see in the distance,
01:00:49 that's Basin Street.
01:00:50 That's the Cradle of Jazz.
01:00:52 And in the home of rock and roll is just across the street.
01:00:54 Well, of course that's all in the first
01:00:56 African-American neighborhood.
01:00:58 Of course it is.
01:00:59 That's where that comes from, from those African rhythms.
01:01:02 We know June is Black Music Month.
01:01:10 And as I tell everybody, Black History Month
01:01:12 and Black Music Month is every day on this tour.
01:01:16 You know what I mean?
01:01:17 That's what we're celebrating.
01:01:17 That's exactly what we're celebrating.
01:01:22 We're gonna look, and if you can zoom in
01:01:25 on this historical marker,
01:01:27 that'll help give you some idea.
01:01:28 Up here, I'm gonna show you.
01:01:31 Because that was a 12 to 15 foot wall.
01:01:34 - Yeah.
01:01:35 - You gotta realize, in the 1700s,
01:01:37 there was a wall right there.
01:01:38 Rampart ain't a street, rampart is a wall.
01:01:41 - Wall.
01:01:42 - That's literally what a rampart is, is a wall.
01:01:44 They, like rampart being a brick wall.
01:01:49 - First space block.
01:01:52 - Yeah, 'cause the French had it,
01:01:54 the British won it, and the Spanish gonna get it.
01:01:58 That the Americans buy from the French.
01:02:01 - Yeah.
01:02:02 - See if you can get right here and zoom in on that.
01:02:05 - Cocoa spray.
01:02:06 - Right here, right here where you get past all the bushes,
01:02:08 you can see pretty much most of it.
01:02:10 If you zoom in on that sign right there,
01:02:11 can you zoom in real tight?
01:02:14 And you'll see a rampart.
01:02:16 Keep zooming, keep zooming, keep zooming.
01:02:19 Keep zooming.
01:02:21 In this picture, you see behind them dancing,
01:02:23 that square is a wall.
01:02:25 And come out here and look at this tomorrow.
01:02:28 As himself, New York City, okay records, heebie-jeebies.
01:02:33 Halfway through, as this white car will walk,
01:02:38 halfway through the recording,
01:02:39 you'll hear Lewis say, "It knocked over."
01:02:41 (saxophone music)
01:02:44 (saxophone music)
01:02:47 - He's walking, he's walking.
01:02:50 (saxophone music)
01:02:52 (saxophone music)
01:02:55 (saxophone music)
01:02:58 (saxophone music)
01:03:01 (saxophone music)
01:03:04 (saxophone music)
01:03:07 (saxophone music)
01:03:09 (saxophone music)
01:03:12 (saxophone music)
01:03:41 (saxophone music)
01:03:44 - Happy summer, big and bad.
01:03:49 (saxophone music)
01:03:52 - Hold on, hold on.
01:04:04 (saxophone music)
01:04:08 - I'm gonna mention because Lewis says,
01:04:11 about the middle of the song, he says,
01:04:14 he's singing and he says, "It knocked over."
01:04:18 He knocks his heebie-jeebies over.
01:04:20 (saxophone music)
01:04:23 It knocked over.
01:04:32 He's improvising now, he goes to the tag line.
01:04:36 (saxophone music)
01:04:39 He gets scat, twice around.
01:04:46 (saxophone music)
01:04:49 Back to the tag line.
01:05:04 He's got it, he knows the rhythm.
01:05:07 (saxophone music)
01:05:12 He said, "We did two other versions, they kept this one
01:05:17 "because they like the feel of it."
01:05:20 That's genius.
01:05:21 You have to pay attention to where he makes his mistake
01:05:25 to even realize he had made a mistake.
01:05:28 And they use it as the single.
01:05:32 (laughing)
01:05:35 - Woo, got the heebie-jeebies.
01:05:39 (saxophone music)
01:05:42 - I see trees of green, red roses too.
01:05:45 ♫ I see them bloom for me and you
01:05:53 ♫ And I think to myself
01:06:01 ♫ What a wonderful world
01:06:04 ♫ I see skies of blue
01:06:12 ♫ Clouds of white
01:06:18 ♫ Bright blessed days
01:06:22 ♫ Dark sacred nights
01:06:25 ♫ And I think to myself
01:06:30 ♫ What a wonderful world
01:06:33 ♫ The colors of the rainbow
01:06:43 ♫ So pretty in the skies
01:06:46 ♫ Also on the faces of people going by
01:06:51 ♫ I see friends shaking hands
01:06:57 ♫ Saying how do you do
01:07:00 ♫ They're really saying I love you
01:07:06 ♫ I hear babies crying
01:07:11 ♫ I watch them grow
01:07:17 ♫ They'll learn much more
01:07:20 ♫ Than I'll ever know
01:07:23 ♫ And I think to myself
01:07:28 ♫ What a wonderful world
01:07:31 ♫ Yes, I think to myself
01:07:39 ♫ What a wonderful world
01:07:55 ♫ Oh yeah
01:07:57 (audience applause)
01:08:02 - We're gonna go take a picture at Preservation Hall.
01:08:05 They're gonna be crowded out to Wazoo.
01:08:06 We're not gonna go into the gift market
01:08:07 'cause they're bringing people in for music right now.
01:08:10 I encourage you to get into.
01:08:13 We're gonna talk about Sweet Emma Barrett.
01:08:14 She played the last 20 years of her life there.
01:08:18 She's the first person that got famous
01:08:20 playing New Orleans music in New Orleans.
01:08:24 All the men is the one we know
01:08:25 'cause they left and went to Chicago.
01:08:27 We know they left and went to New York City.
01:08:29 We know they left and went to Paris, France.
01:08:32 This is Sweet Emma Barrett
01:08:34 singing about a big butter and egg man.
01:08:37 See if you can figure out what a big butter and egg man is.
01:08:41 (upbeat music)
01:08:43 (audience applause)
01:08:46 (upbeat music)
01:08:49 (upbeat music)
01:08:51 (upbeat music)
01:08:54 (upbeat music)
01:08:57 (upbeat music)
01:08:59 (upbeat music)
01:09:02 (upbeat music)
01:09:04 (upbeat music)
01:09:07 (upbeat music)
01:09:10 (upbeat music)
01:09:12 (upbeat music)
01:09:15 (upbeat music)
01:09:17 (upbeat music)
01:09:20 ♪ I want a butter and egg man ♪
01:09:23 (upbeat music)
01:09:25 ♪ From where I didn't know it ♪
01:09:29 ♪ I'm getting tired of working all day ♪
01:09:34 ♪ And I want somebody who just wants me to play ♪
01:09:39 ♪ And in a day, I'm starting to feel so much better ♪
01:09:44 (man coughs)
01:09:46 - We have a lot here.
01:09:48 ♪ I want a butter and egg man ♪
01:09:52 ♪ I want a big big butter and egg man ♪
01:09:55 - You would think that's preservation hall.
01:09:58 Read carefully.
01:09:59 (man laughs)
01:10:01 (upbeat music)
01:10:04 - It's actually based on Deborah Baker.
01:10:07 Dedicated to her.
01:10:09 (upbeat music)
01:10:12 (upbeat music)
01:10:15 (upbeat music)
01:10:18 (upbeat music)
01:10:21 (upbeat music)
01:10:24 (upbeat music)
01:10:25 - In 1961, a young Jewish couple,
01:10:28 Sandra and Alan Jaffe got married in Mexico City.
01:10:31 They come back here.
01:10:33 They ended up buying this place.
01:10:35 62 years later, the old man died in 1987.
01:10:38 The wife died the day after Christmas last year.
01:10:41 Their son, Ben Jaffe, now oversees the creative direction of the club.
01:10:44 Come on, we're gonna keep walking.
01:10:46 (indistinct chatter)
01:10:49 - Hey.
01:10:51 - When I was single, I used to have all this, a lot of stories.
01:10:54 I flew to Los Angeles on August 14, 2005.
01:10:57 I had meetings at Warner Brothers.
01:10:59 I was in the record business.
01:11:01 I had one pair of long pants and a sports coat
01:11:04 with a grown up shirt, I like to say, cowboy boots.
01:11:07 And I had Birkenstocks, swim trunks and shorts
01:11:12 for the rest of, you know, for the rest of California.
01:11:15 You know what I mean?
01:11:16 (indistinct chatter)
01:11:19 Katrina hits.
01:11:20 That's what I owned then.
01:11:22 That was my wardrobe.
01:11:23 - Wow.
01:11:24 - One pair of shorts, two swim trunks.
01:11:26 You know, everything, my recording studio, my home, everything was destroyed.
01:11:30 What a way to become a minimalist.
01:11:32 - Yeah.
01:11:33 - Yeah.
01:11:34 - Mother nature.
01:11:35 - Yeah.
01:11:36 - Mother nature.
01:11:37 - But it's funny, I always tell people, I don't, you know,
01:11:39 I'm not a proxalizer, I'm not a vandalizer, I'm not any of that,
01:11:41 but I'll tell you why I pray.
01:11:43 Because I pray that my copyrights, my master tapes,
01:11:48 and the pictures of my child, my daughter,
01:11:51 and man, I would come into a room and I'd get that damn chill
01:11:55 every time I tell that story.
01:11:57 The damn paintings would be melted off the wall, in the frames, you know,
01:12:00 and they'd drip it down the wall.
01:12:01 - Oh, yeah.
01:12:02 - Electric color and shit.
01:12:03 You could see where the dresser had lifted up, it floated,
01:12:05 opened it up, and there's my pictures of my daughter in the top drawer,
01:12:08 not even, not even all the way, not even that whole drawer.
01:12:11 - Oh, wow.
01:12:12 - Going to filing cabinets, it's just a filing cabinet I got from Office Depot
01:12:15 for $29, you know, it ain't waterproof shit.
01:12:18 That's all, it's loaded up, sat back down, all my copyrights,
01:12:21 a couple of drops of water on a couple of cover sheets,
01:12:24 I mean, it's like, it'd blow your mind.
01:12:26 - Yeah.
01:12:27 - Blow your, you know, it'd blow your mind, and whatever you,
01:12:29 I don't know what you would do, you know what I mean?
01:12:30 - I was thinking about that, too, when we were going down there.
01:12:31 - Yeah, right, right.
01:12:32 - When we were going down there, a lot of the homes are built on raised foundations.
01:12:35 - Yeah.
01:12:36 - How come they just don't build them on floating stuff?
01:12:38 - That's the genius of it.
01:12:39 - In the water, too?
01:12:40 - That's the genius of it.
01:12:41 That's exactly genius.
01:12:43 - And make sure it's tethered, like, not tethered, but like, yeah.
01:12:46 - It'd float up, float back down.
01:12:47 - Yeah, it'd float back down.
01:12:48 - That's what it needs to be.
01:12:49 - Yeah.
01:12:50 - So, let me tell you about Louisiana.
01:12:51 So, after Katrina, we get the Dutch to come here,
01:12:55 and their whole fucking country, the whole of the Netherlands is below sea level.
01:12:58 Realize, the whole, say that out loud, you know what I mean?
01:13:01 The whole country is below sea level.
01:13:03 - They have all the dikes, right?
01:13:04 - Yeah.
01:13:05 - They said, "You need to spend $4 trillion, you need to do this and that."
01:13:07 So, we spent 1.1, and said, "Okay, it's fixed."
01:13:11 You know, that's Louisiana.
01:13:13 - So, they brought in some experts from the Netherlands.
01:13:17 - Yeah, they said, "Y'all need to spend $4 trillion,
01:13:19 "if you have to do it, you have to build it."
01:13:21 So, concentric circles out from it with exterior rings and connection rings
01:13:25 and all this stuff, and da-da-da-da-da-da.
01:13:27 Okay, okay, okay.
01:13:29 Here's our country.
01:13:30 - Yeah, a trillion dollars is still a big investment.
01:13:33 - Exactly.
01:13:34 - Fortunately.
01:13:35 - That's what they should have done.
01:13:37 - They solved it with a 1.1 trillion investment.
01:13:39 - There you go.
01:13:40 - Okay, okay.
01:13:41 - They're just now playing out that they're just now finishing.
01:13:43 They're going, "Oh, well, that's not enough."
01:13:45 - Yeah, it's not--
01:13:46 [ambient street noise]
01:14:00 - All right, we're going to take a walk through the river,
01:14:02 get a couple photos, and I'm going to take you to Pretzel
01:14:07 and get you some good jazz.
01:14:09 This--
01:14:10 [clears throat]
01:14:11 - I did plenty of that in the--
01:14:12 [ambient street noise]
01:14:18 - A little Mardi Gras music, Professor Longhair.
01:14:21 [music]
01:14:41 [whistling]
01:14:59 - Great gumbo right here.
01:15:00 - Oh.
01:15:01 - If you're looking for gumbo, this is the spot.
01:15:03 - Oh, yeah.
01:15:04 [whistling]
01:15:06 [speaking in foreign language]
01:15:09 - And Memphis.
01:15:10 [music]
01:15:23 - That's Mardi Gras.
01:15:24 - I think that is a lady.
01:15:26 [music]
01:15:40 - That's New Orleans.
01:15:41 [music]
01:15:55 [singing]
01:15:58 - I'm going to pause this gentleman.
01:16:00 He's a good player right here.
01:16:01 He's playing and just looking around.
01:16:03 [ambient street noise]
01:16:08 [music]
01:16:13 - So many--
01:16:14 [music]
01:16:36 - In just about 20 minutes, buddy,
01:16:38 the Jackson Square laid out as the Place des Hommes.
01:16:43 1720, Audrey and de Paulcher,
01:16:46 the original civil engineer that laid all of that out.
01:16:49 Of course, 1721, that first Catholic church here.
01:16:52 - St. Louis Cathedral.
01:16:54 - That's the second version of it,
01:16:56 one burned to the ground.
01:16:58 [ambient street noise]
01:17:10 - We know--
01:17:11 - Let's get back to our--
01:17:13 [ambient street noise]
01:17:17 - We know the French army landed here in 1726
01:17:20 and brought with them that snare drum.
01:17:22 The first time we've seen that snare drum in this area.
01:17:25 Of course, very important in jazz, that snare rap,
01:17:29 where you get to the one.
01:17:31 [music]
01:17:39 [music]
01:17:59 [music]
01:18:18 - We're going across to the river.
01:18:21 Come ahead, come ahead.
01:18:23 [ambient street noise]
01:18:27 - Come on, come on.
01:18:29 - You're going to want to see this view of the cathedral up here.
01:18:32 Let's go this way and then we'll cross to the river
01:18:34 before I walk you back to Bourbon Street.
01:18:36 - All right.
01:18:37 [ambient street noise]
01:18:52 - A little easy listening, bro.
01:18:53 - Yeah, I was there.
01:18:54 - I'll wait waiting for you.
01:18:57 [ambient street noise]
01:19:08 - There's the million dollar view of New Orleans skyline.
01:19:11 [music]
01:19:24 [music]
01:19:47 [music]
01:20:00 [music]
01:20:18 [music]
01:20:28 [music]
01:20:38 [music]
01:20:49 - Oliver, the king of the cornet, left.
01:20:52 Lewis had just been released from that Colored Waves Home for Boys.
01:20:56 Remember I told you he was arrested four times?
01:20:59 - Yeah.
01:21:00 - The third time he was sentenced to the Colored Waves Home for Boys.
01:21:04 When Lewis was released, he joined Joe Oliver's band,
01:21:07 the King of the Cornet.
01:21:08 - Yeah.
01:21:11 - 1918, Joe Oliver, Kid Ory, Johnny Dodge, Johnny St. Cyr,
01:21:16 they're all leaving to go to Chicago.
01:21:19 - Why?
01:21:20 - For the rebirth of jazz.
01:21:23 Can I bring Lewis Armstrong with them? Why not?
01:21:26 He's not 21.
01:21:28 He gets on a riverboat here,
01:21:30 the Strathes Brothers Riverboat Line,
01:21:32 carry him from here, St. Paul, Minnesota,
01:21:35 and back all spring and summer.
01:21:39 Faith Maribel's orchestra.
01:21:41 Faith Maribel played piano in an eight-piece orchestra.
01:21:45 He didn't give a damn that boy was 18, 19 years old.
01:21:48 You can play horn like that?
01:21:50 - Probably.
01:21:51 - Come on.
01:21:52 Lewis, when he gets the telegram in 1921 from Joe Oliver,
01:21:59 knowing that boy's 21, he invites him to Chicago.
01:22:02 That changes jazz again.
01:22:04 Lewis then marries that piano player that we heard on that
01:22:09 "Heebie Jeebies," that song we listened to earlier of Lewis Armstrong.
01:22:16 Lewis Armstrong began a series of achievements in his lifetime
01:22:23 that opened the door for all black people that came after him,
01:22:26 not just musicians.
01:22:30 We're going to listen to a song that Lewis Armstrong popularized,
01:22:35 but we're going to listen to it played by the piano genius of New Orleans,
01:22:43 James Booker.
01:22:45 James Booker died in 1983.
01:22:53 Listen to him and a Steinway piano playing "On the Sunny Side of the Street."
01:23:00 Oh, I got the wrong--here we go.
01:23:03 This is James Booker.
01:23:08 [playing "On the Sunny Side of the Street"]
01:23:37 [playing "On the Sunny Side of the Street"]
01:23:52 [applause]
01:23:54 - Thank you!
01:23:56 - Ice, yes, motorized ice, yes.
01:24:01 - This is ice cooler.
01:24:04 - Yes, motorized cooler.
01:24:07 [playing "On the Sunny Side of the Street"]
01:24:18 - That's brilliant.
01:24:19 That's great.
01:24:22 I'm the prize.
01:24:23 [playing "On the Sunny Side of the Street"]
01:24:32 - You are thirsty.
01:24:34 I ask you to open up for your drink.
01:24:36 [playing "On the Sunny Side of the Street"]
01:24:48 - Not bad at all.
01:24:51 Not bad at all.
01:24:53 [playing "On the Sunny Side of the Street"]
01:25:01 - You have to wait.
01:25:04 They got the green light.
01:25:10 We're walking to Bourbon Street, so we're going to listen to Pete Fountain.
01:25:15 Pete Fountain was the king of Bourbon Street.
01:25:17 Pete Fountain, we're going to end up--I'll point out his club when we get to Bourbon Street.
01:25:24 He played at this club for 32 years on Bourbon Street every week.
01:25:30 He recorded 100 albums in his lifetime.
01:25:34 He sold 20 million copies.
01:25:37 He is a star by any measure.
01:25:40 He plays a clarinet.
01:25:43 He plays instrumental, traditional Dixieland jazz.
01:25:49 Here is Pete Fountain, and I swear it sounds like the city is whistling.
01:25:55 Let's give a listen.
01:25:57 [playing "On the Sunny Side of the Street"]
01:26:07 [playing "On the Sunny Side of the Street"]
01:26:17 [playing "On the Sunny Side of the Street"]
01:26:27 [playing "On the Sunny Side of the Street"]
01:26:39 Bourbon Street, no, this is Pete Fountain.
01:26:43 Bourbon Street is named after the House of Bourbon.
01:26:47 They controlled all the houses of Europe for 167 years.
01:26:52 They were either the head of Spain and the king of France, the king of what was England.
01:26:58 They were all first cousins, either by marriage or conquest, in the House of Bourbon,
01:27:03 the first to unite those houses of Europe.
01:27:07 [playing "On the Sunny Side of the Street"]
01:27:36 Bourbon Street regular, a cat by the name of Al Hirt.
01:27:43 Al Hirt, a classically trained trumpet player, Conservatory of Cincinnati.
01:27:51 Had a club at 500 Bourbon Street--excuse me, 501 Bourbon Street for 30 years.
01:27:59 He's playing an Alan Toussaint song here called "The Jobs."
01:28:03 [playing "The Jobs"]
01:28:13 [playing "The Jobs"]
01:28:35 [playing "The Jobs"]
01:28:45 [playing "The Jobs"]
01:29:05 [playing "The Jobs"]
01:29:25 [playing "The Jobs"]
01:29:43 And here we are back to Bourbon Street.
01:29:46 [playing "The Jobs"]
01:30:15 But of course that ended in the late '70s and the early '80s.
01:30:20 Now, there's very few spots you can actually catch quality music on Bourbon Street.
01:30:27 One of those places where I'm taking you is Prinzl's Jazz Pub.
01:30:32 It's a German jazz pub since 1969.
01:30:37 I'm going to play you a little Sidney Bechet while we walk.
01:30:41 This is called Petit Fleur, Little Flower.
01:30:47 We're coming up on where Pete Fountain played for 30 years, 32 years, right up here on the left.
01:30:53 His name's still in the sidewalk.
01:30:59 [playing "The Jobs"]
01:31:19 [playing "The Jobs"]
01:31:36 That was originally laid down in '59.
01:31:38 [playing "The Jobs"]
01:31:52 You picked a very good selection of music.
01:31:54 Thank you, my friend.
01:31:55 Thank you.
01:31:56 Thank you.
01:31:57 I will send you a playlist if you send me your e-mail.
01:32:00 Here.
01:32:01 Thanks, guys.
01:32:02 [playing "The Jobs"]
01:32:09 Take this. That's my e-mail.
01:32:11 You'll want to send me an e-mail and I'll send you the playlist.
01:32:14 We didn't take any pictures because you got all the pictures.
01:32:18 There are a lot of ways you can spend your time and money in New Orleans.
01:32:21 I'm glad you chose this.
01:32:22 [playing "The Jobs"]
01:32:42 [playing "The Jobs"]
01:33:02 [playing "The Jobs"]
01:33:22 [playing "The Jobs"]