Marin, !

Rachel Marin

Multimedia Writing and Rhetoric

Prof. McLaughlin

04/03/2017

New Orleans Music: How It Was Key to the Rebuilding After Hurricane Katrina

A drowning sorrow floods the deepest grief, how long now? Until the weather change

condemns belief, how long now? When the night watchman lets in the thief, Whats wrong

now (2:27-2:48)?

These lyrics are from a popular song that was written in response to Hurricane Katrina by

U2 featuring Green Day. On August 29, 2005, Hurricane Katrina struck the city of New Orleans

and affected thousands of residents in the area (Le Menestrel and Henry 180). This storm had a

wide variety of impacts on the city of New Orleans from economic to social to cultural changes.

Before the storm, music had always been a large part of the culture of New Orleans, whether it

was jazz, blues, or hiphop. Music in New Orleans has always been known to give a sense of

hope to its citizens no matter the circumstances. After the storm, many musicians were displaced

around the world finding shelter and new inspiration in their experiences. Some people credit the

rebuilding of the city after the storm to the music as it expressed what many citizens were feeling

after the disaster. In this paper I will address how music changed after hurricane Katrina and how

music contributed to the rebuilding of New Orleans post Katrina by providing a sense of hope,

highlighting disaster and tragedy, continuing traditions, creating public awareness, and helping

citizens cope with displacement.

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Although music has always been an important part of the culture in New Orleans it has

experienced significant change after hurricane Katrina, including changes in music style and

topics. Music in the city experienced these changes in response to the disaster. These changes

contributed to the rebuilding of the city by unifying the citizen of New Orleans. Sara Le

Menestrel, a cultural anthropologist, and Jacques Henry, a professor and Louisiana resident,

explain how much of the music before hurricane Katrina expressed feelings of optimism and

growth of the music of New Orleans (Le Menestrel and Henry 179). Much of the music pre-

Katrina was focussed on creating new types of music and developing a city centered on music.

One example of this is Professor Longhairs song Tipitina which states, Come on baby, were

going balling. Were gonna have ourselves a good time. We gonna hole tralla wall mall

dalla(2:05-2:21). This song was written before Katrina and it clearly demonstrated how the

music was more optimistic. Michael G. White, a musician who started playing before Katrina,

explained the changes he personally experienced in his music and its role in New Orleans. He

says, the summer of 2005 began closing on a note of optimism and celebration, it soon yielded

to fear, uncertainty, and deep reflecting (White 822). He also says how the music wasnt very

popular and the music topics were focussed on citizens way of life and an expression u of the

community and African American culture (822-823). In these two ways, we can see how music

was different before hurricane Katrina and we will be able to see how it changed after this

disaster.

New Orleans music especially after hurricane Katrina has shown to highlight disaster and

tragedy, which has shown to benefit its citizens. This can be seen in everything from funerals to

second lines to disasters, such as Katrina. In New Orleans funerals, they believe the spirit is cut
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loose to enjoy a better life and death is followed by rebirth (Raeburn 815). This relates to

Katrina, after the devastating loss many experienced a rebirth. This rebirth came to New Orleans,

but it can only be aided by music. Raeburn believes as many others do as well that if the

musicians don't return to the city of New Orleans the culture of the city will die. Woods also

quotes Dr. Marin Luther King, The blues tell the story of lifes difficulties, and if you think for a

moment you will realize that they take the hardest realities of life and put them into music, only

to come out with some new hope or sense of triumph (1009). This quote exemplifies exactly

what the reemergence of the blues did after hurricane Katrina. Woods also believes that the

music post Katrina was a sound known throughout the world as freedom itself (1016). This

change in music aided its citizens by causing a rebirth that freed many of its citizens from the

devastating sentiments many were feeling after Katrina. These authors demonstrate how music

especially those that highlight disaster contributed to the rebuilding of the city by causing a

revival in the city and in its music. One example of this is in Stevie Wonders song Shelter in the

rain he says, When the lights are down and the stage is bare. Ill be your shelter in the

rain(0:18-0:58). I believe that by this line in the song he meant that even though the city is

destroyed you can lean on him and his music for support. This song and many like it gave citizen

hope for the future.

Music can contribute to the rebuilding of a city by providing a sense of hope for its

citizens. Rebuilding of a city is not just physical but also emotional rebuilding of communities

and there have been other instances where we can see this. Sing Us Back Home states that,

Since August 2005, the future of New Orleans music has been both the subject of great concern

and a beacon of hope(Le Menestrel and Henry 179). Similarly, Eric Porter writes that within
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New Orleans music comes hope for the future and reminder of the past (Porter 593). This sense

of hope was created not only by singing about the struggles many people faced but also by

relating their music to the past. For example, Michael White explains how his music after

hurricane Katrina showed a deeper passion than before and how he was able to incorporate the

past into his music which guided him and gave him a sense of hope for the future (White 827).

Both of these authors acknowledge the fact that music provided a sense of hope for many people

after hurricane Katrina. Much of the music created during and after Katrina attempted to narrate

the experiences many citizens faced while being away from home and speak about returning

back home and renewing the city of New Orleans (Watts and Porter 62). By musicians

expressing what they were going through it gave many people a sense of hope knowing they

weren't going through this alone. This also shows the shift in music from primarily focussed on

their past to being centered on the struggles they were currently facing. This helped bring the

community of New Orleans together in order to rebuild the city after the disaster. In Jackson

Brownes song Where Were You he says, To return, and rebuild, and restore to its people. The

city that gave us the first American music true inspiration and the freedom to use it(6:49-7:06).

These lyrics emphasize the importance of citizens to come back to the city and rebuild and this

song motivated people to repopulate New Orleans.

One way the city of New Orleans facilitated the rebuilding of the city through music was

by continuing its traditions of music festivals and Mardi Gras. After the devastating storm the

city still came together to celebrate two of its most well known events: Mardi Gras and New

Orleans Jazz and Heritage Festival. Both of these events had a positive impact on the city, as

they focussed on the hardships many experienced after the storm and a positive outlook on
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reviving the city. Jazz Fest was originally intended to help musicians gain popularity and help

revive careers of local musicians (Miller 38-39). Bruce Boyd Raeburn explains how after

hurricane Katrina the New Orleans Jazz and Heritage Festival was a way for local musicians to

express their sentiments after the disaster. Eric Porter also explored the importance of these

events on music in New Orleans after hurricane Katrina (Raeburn 819). He found that for many

local artists was a way to help them rebuild after the storm and it also served to showcase the

revival of the local music industry (Porter 594). Bruce Boyd Raeburn a specialist on jazz in New

Orleans discussed the changes on these events directly following hurricane Katrina. He states,

at the 2006 New Orleans Jazz and Heritage Festival, practically every New Orleans musician

had a song about Katrina (Raeburn 819). Mardi Gras which was often seen as a symbol of

violence was reclaimed the year after Katrina to deflect criticism and to announce the

communitys resilience (606). Mardi Gras was also used to unify communities after many

citizens were displaced after the storm, as many clubs had to come together to put on the parades

that rolled on Lundi Gras (the Monday before Ash Wednesday) (606-607). All of these traditions

helped with initiating relief efforts to rebuild New Orleans, through the changes in music

following Katrina. These traditions were ways for the people of New Orleans to connect to other

musicians who were experiencing similar problems and showcase the revival of the music

industry. This was also a way to bring people back to the city and by attending these events they

were contributing to the rebuilding of the city.

Music is often shown as a symbol of rebuilding for New Orleans and helped create public

awareness which benefitted the city. Sara Le Menestrel and Jacques Henry studied people who

evacuated from New Orleans after hurricane Katrina and found that, music was constantly
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presented as an important symbol of the rebuilding of New Orleans (Le Menestrel and Henry

181). In Eric Porters article he explains how music benefitted the city after the storm. He

mentions how, immediately following the storm there were a number of high-profile benefit

concerts and CD releases designed to raise money for displaced musicians and other victims of

Katrina(Porter 599). Many musicians reported that post-Katrina they received many paid gigs,

benefit concerts, and recording deals which provided them with income as well as consistency.

Many musicians benefitted from an increase in compassion and publicity after the storm, which

eventually helped them return to New Orleans (Le Menestrel and Henry 183). Eric Peter explains

how public awareness benefitted New Orleans. He states that, at both the local and national

local levels, artists, activists, businesspeople, political leaders, academics, and others have

invoked or tried to mobilize the existence of New Orleans's unique musical culture and its global

popularity as a justification for rebuilding and/or repopulating the city (Porter 599). Public

awareness benefitted the city in many ways, such as depicting the inadequate conditions many

people had to return to and also the political issues the city was facing. This shows how the city

gained public awareness which lead to others wanting to help those affected by the storm. Many

people became aware of what was going on in the city through music created during this time

which led many highly influential people to become involved in the rebuilding process after the

storm. This can also been seen in other cities across the world. One example of this can be seen

in Moore, Oklahoma after an EF5 tornado destroyed almost the entire city. A week after this

tornado many famous musicians joined together for a benefit concert known as Healing in the

Heartland. This concerted impacted the city in a positive way by providing funds and resources

to this struggling community.

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Music created during and after hurricane Katrina helped musicians and citizens cope with

displacement and then rebuild New Orleans. The book New Orleans Suite states that, The music

has clearly helped the broader population cope with destruction and displacement, has enabled

cross-racial solidarity, and has engendered a commitment to the city and specific neighborhoods

in the face of state and corporate indifference and hostility (Watts and Porter 24). Many people

went through very similar situations after hurricane Katrina. Sara Le Menestrel and Jacques

Henry discuss how citizens and musicians alike coped with the displacement. They found that,

Musicians had to cope with the disaster like other New Orleanians, and they went through a

period of post-traumatic stress. Although none of our interviewees lost loved ones, they

experienced various degrees of destruction and damage brought to their homes, possessions, and

memories (Le Menestrel and Henry 182). Because many people experienced similar situations

this helped them overcome displacement and also helped others rebuild. Michael White, a New

Orleans jazz musician, explains his experience, as a rebirth; the beginning of another path in my

jazz life. Like thousands of other victims along the Gu!f Coast, I have had to grapple with

hurricane-related deaths, illness, displacement, anger (White 827). The music created post-

Katrina helped citizen cope with the displacement, because many musicians expressed what they

had to endure during this time through this music. These musicians expressed situations that

many other New Orleans residents had to also go through, which brought large groups of people

together despite their differences. Once New Orleans residents were able to cope with the

displacement they were then able to return to New Orleans to aid in the rebuilding of the city.

Some people disagree with the following claims and don't believe that music truly

contributed to rebuilding in New Orleans after Katrina. Although many people believe this to be
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true I have found evidence to prove that it is an integral part of the rebuilding of the city. Sara Le

Menestrel and Jacques Henry address this by saying that music was a very important part in the

forming of the culture in New Orleans and that it is necessary for the rebuilding of the city as

well (Le Menestrel and Henry 180). Music is very central to the culture in New Orleans and is

what created the city. Eric Porter says that, the culture can enable the reconstruction of New

Orleans(593). In other words, New Orleans can contribute to the rebuilding of the city of New

Orleans. This can show the benefits of a city being a musically rich community. This can help a

city in face of disaster. In fact, that city has committed time and money into ensuring the

continuation of New Orleans music in its younger generations in case they face a similar disaster.

Many institutions and musicians have joined together to ensure a new generation of musicians

will develop (Le Menestrel and Henry198).

In conclusion, music drastically changed for the better after hurricane Katrina, while still

remaining an integral part of the culture of New Orleans. We can see that it is an integral part of

the culture, because it is ingrained in many traditions unique to New Orleans such as Mardi Gras

and The Jazz and Heritage Festival. Music also created public awareness of the status of the city

following hurricane Katrina leading to unity, community, and also rebuilding of the city.

Although New Orleans music did go through major changes it did benefit, because it helped

rebuild the city after disaster. The music during this time helped citizens cope with the struggles

of displacement and eventually return to New Orleans to rebuild.

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Works Cited

Browne, Jackson. Where Were You. Time the Conqueror, Inside, 2008, Youtube, https://

www.youtube.com/watch?v=63WCvb2_dU0.

Le Menestrel, Sara and Jacques Henry. "Sing Us Back Home: Music, Place, and the

Production of Locality in Post-Katrina New Orleans." Popular Music & Society,

vol. 33, no. 2, May 2010, pp. 179-202. EBSCOhost, doi:10.1080/03007760903086151.

Miller, Matt. Bounce: Rap Music and Local Identity in New Orleans. Amherst, University of

Massachusetts Press, 2012.

Porter, Eric. Jazz and Revival. American Quarterly, vol. 61, no. 3, 2009, pp. 593613.,

www.jstor.org/stable/27735009.

Professor Longhair. Tipitina. Atlantic Records, 1953, Youtube, https://www.youtube.com/

watch?v=DtV5cBQpINM.

Raeburn, Bruce Boyd. "They're Tryin' to Wash Us Away": New Orleans Musicians Surviving

Katrina." Journal of American History, vol. 94, no. 3, Dec. 2007, pp. 812-819.

EBSCOhost,search.ebscohost.comlogin.aspxdirect=true&AuthType=ip,url,uid,cookie&

db=aph&AN=28142055&site=ehost-live.

Summers, Alex. "Using Music to Heal Communities After Disaster." Triple Pundit: People,

Planet, Profit. N.p., 13 Dec. 2013. Web. 02 May 2017.

U2 (Feat. Green Day). The Saints Are Coming. Mercuryrecordsuk, 2006, YouTube, https://

www.youtube.com/watch?v=seGhTWE98DU.

Watts, Lewis, and Eric Porter. New Orleans Suite: Music and Culture in Transition. Berkeley,

Univ. of California Press, 2013.

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White, Michael G. "Reflections of an Authentic Jazz Life in Pre-Katrina New Orleans." Journal

of American History, vol. 94, no. 3, Dec. 2007, pp. 820-827. EBSCOhost,

search.ebscohost.com/login.aspx?direct=true&db=aph&AN=28142056&site=ehost-live.

Wonder, Stevie. Shelter In The Rain. A Time To Love, Motown, 2005, Youtube, https://

www.youtube.com/watch?v=jkHjKD1RCLY.

Woods, Clyde. Do You Know What It Means to Miss New Orleans?: Katrina, Trap Economics,

and the Rebirth of the Blues. American Quarterly, vol. 57, no. 4, 2005, pp. 10051018.,

www.jstor.org/stable/40068327.