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I actually went to the first game in Saints history. We were living in New Orleans at the time. I was eight. They opened against the L.A. Rams in 1976. I went with my dad, and we bought standing-room only seats at Tulane Stadium. We actually sat in the aisle.
I've experienced all the food and restaurants in New Orleans. I've been doing a bit of touristing when I have the day off, just walking in the French Quarter. To me, it's very, very surprising how people are so friendly. But no, it's very different from Paris.
With Hurricane Katrina and all that kind of stuff happening, you needed somebody to rally for your city, to tell that story. Since Hurricane Katrina, we didn't really have nobody that said, 'I'm gonna tell New Orleans' story, and I'm gonna stick to New Orleans.'
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.
I'm from New Orleans, which is all about direct engagement out in the street with all the parades and Mardi Gras Indians and jazz funerals. I'm trying to take that and put it into my generation, a group that doesn't have enough joy and celebration in their lives.
I think, you know, people think of the city of New Orleans as a parochial place where it's a lot of folks who are from there and a lot of big families, a lot of musical families, a lot of history, a lot of tradition, but I like to think of New Orleans as an idea.
One of the things that's beautiful about New Orleans is how culturally rich we are and how well we have worked together. People call us a gumbo. It's really important that we get focused on the very simple notion that diversity is a strength, it's not a weakness.
I come from a long line of strong and confident women out of New Orleans. My grandmother and great-grandmother were women who ran their homes and were leaders in their communities. I was never taught that there was anything that I couldn't do, and I believed that.
When a sports team is doing well in a city that's going through tough times like New Orleans, like Detroit, it bolsters this real sentiment of 'we can get through this.' And when you have that sentiment, it becomes more than feelings: It's transported into action.
A lot of cats in New Orleans, very soulful, very soulful musicians and they assume that they're singers. And they just make that assumption. And so when there's a little intonation problem, people are very forgiving of them because they heard how soulful they play.
After Hurricane Katrina, over New Orleans, my helicopter crashed and the pilot and I were only saved because we fell on the roof of a flooded house that absorbed the shock. When the helicopter was spiraling downward out of control, I didn't expect to survive at all.
I really did have this powerful sense, when I was in New Orleans after the storm, of watching all these profiteers descend on Baton Rouge to lobby to get rid of the housing projects and privatise the school system - I thought I was in some science-fiction experiment.
I married a woman from New Orleans, so I had family here. Post-Katrina, I had a number of friends call me up and say they wanted to do something to help the community - not just Habitat for Humanity or Red Cross, we've done that, but what can we do for the community.
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.
Eighty-five percent of us in this country, by the way, live in coastal areas, so again, Katrina and Rita were not just about New Orleans. There were a lot of lessons that the nation can learn from us if they just pay attention to the things that are going on down here.
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.
The reason New Orleans is still around is because of the celebrations it has inspired since its inception as a city. I'm always excited about the possibility of what might happen. That's what drives us, and I think that's the spirit of New Orleans and the spirit of jazz.
You've got different people that have different views of New Orleans. When you say 'New Orleans,' you have people who just think of the Neville Brothers. You've got people that think of Louis Armstrong. You say 'New Orleans,' and you've got people that think of Lil' Wayne.
Fragile economies and weak infrastructures tend to worsen the results of climate disruptions, a problem exemplified by Bangladesh's vulnerability to monsoons, accelerating desertification in northern China, and, most visibly, Hurricane Katrina's devastation in New Orleans.
I live in New Orleans part of the year, and it's a really fun eating town. I bought two homes there, one to live in and one as an investment. They love to eat, drink and dress up in costumes. There are so many reasons to dress up - Mardi Gras, Halloween, Southern Decadence.
No matter what happens with EDM, I would like to go to New Orleans and just play with one of those small funk bands in an intimate venue. How cool would it be to work with a band with those huge horn lines and produce all of that great funk that makes you just want to party?
I had just gotten a job on 'Preacher' on AMC and was in New Orleans starting work on that. My agent called and said 'Are you sitting down?' and I said 'No' and he said 'Scott Rudin wants you to do 'Hello, Dolly!' and all I could say was 'Oh my God, I'll have to call you back.'
Presley is country music, white music. Jazz is black music - it was invented by the blacks in New Orleans. And I'm really a jazz singer. I was impressed with Elvis - he was the handsomest guy I ever met in my life, and a very nice person, too. But the music doesn't impress me.
I'm from New Orleans, Louisiana. It's not a black-and-white type of thing down there. It's a very cultural place. Everybody has the same accent. It's not like if you're white we can't hang with you or anything like that. So it's easy for us to call each other out on our things.
I really wanted to give people that tool, that thing, that answer, 'Well, what are you going to do after Katrina? How does New Orleans come back?' And I'm thinking to myself, New Orleans is back. We're the definition of 'back.' We're the definition of 'rebirth,' of 'renaissance.'
In New Orleans, bounce music was prevalent. That was all they wanted to hear. It was new and trendy, and it was hot, and it was taking off. Artists were coming out of everywhere. They did some great songs, some really catchy, fun songs. That was just the feel of New Orleans music.
In 1996 I was working on a play in New Orleans, and they needed a drag queen. I offered to play the role. That led to guest appearances at bars, which led to regular appearances at bars, which led to hosting. I eventually started working six days a week in bars before moving to N.Y.C.
I think the rebuilding of the city has to start with the spirit first. So the music, the vibe, the connection spiritually with the artists. Everybody out here is the main key. A lot of people are still in a lot of tough situations. My heart still goes out to the people of New Orleans.
When you grow up in New Orleans, like, the only way to be an artist is to be a 55-year-old black musician. That's basically what we wanted to be. If you had asked me very truthfully what I wanted to be when I was 16, the answer would've been, 'I want to be a 55-year-old black musician.'
My dad was the district attorney of New Orleans for about 30 years. And when he opened his campaign headquarters back in the early '70s, when I was 5 years old, my mother wanted me to play the national anthem. And they got an upright piano on the back of a flatbed truck and I played it.
New Orleans is New Orleans. It's a great city and fun and great food. It's one of those cities that when you are working hard hours like we work, you have to do as much as possible to stay out of trouble. Not much of a problem for me, but in New Orleans, trouble tries so much to find you.
Where Charlie Christian left off, Papoose started a new thing; he was an innovator of the guitar. The things he did during his recording career with Fats Domino in the Fifties and Sixties until the day he died was as much a part of the music of New Orleans as anybody else has had to offer.
The music is just so rich and part of the culture there. I suddenly felt like I needed to go on this mission to make sure we save New Orleans because - not that I can save anything - but it's so much part of what this country is, this whole mix of people coming together and doing this thing.
I was in the orphanage in New Orleans until I was almost a year old. I don't think I ever got held by my mama, so that was completely and utterly traumatic. I think it was trauma from the first breath, and I think I've spent my whole life trying to heal from that trauma. So it shaped my brain.
The Madden NFL franchise holds a special place in popular culture and the cover is a coveted position for players all over the league. I'm honored to be the first cover athlete chosen by Madden NFL fans and it's a great way to cap off an amazing year for the Saints and the city of New Orleans.
Basically, from the pilot of the first season of 'Togetherness,' I was strategically losing weight all the way through and then all the way into Season Two. So luckily, I had the plan, and I had a lot of time to do it. But it's definitely not easy, because I'm from New Orleans and I love to eat.
So while an incredible amount of progress has been made, on this fifth anniversary, I wanted to come here and tell the people of this city directly: My administration is going to stand with you - and fight alongside you - until the job is done. Until New Orleans is all the way back, all the way.
I know the hustle that is in Louisiana. Knowing where you are from, really where you're from, helps you to help the community. That's every city, but New Orleans is just different. We have big hearts, but it's just a matter of us having the information, having the people to push you along like I had.
Prior to Katrina, the South Bronx and New Orleans' Ninth Ward had a lot in common. Both were largely populated by poor people of color, both hotbeds of cultural innovation: think hip-hop and jazz. Both are waterfront communities that host both industries and residents in close proximity of one another.
A lot of people don't know I'm from the West Coast. My swag is different. Me being from Young Money, affiliated with them, some people think I'm from down South. They think maybe I'm from New Orleans like them. It's just good to show people and build outside of Young Money, build my brand outside of that.
I always wanted to be an actor, but I always loved design, and growing up in New Orleans there was such great style, great architecture. I would decorate my little apartment in New York over and over again, because it only had a couple of rooms. And I did it for friends and family on the side just for fun.
There's also the tradition of voodoo, the Haitian magic arts, in New Orleans. And because New Orleans is below sea level, when they bury people in New Orleans, it's mostly above ground. So you have this idea that the spirits are more accessible and can access you more easily because they're not even buried.
In New Orleans, people are still influenced by one another. You got these bands that play every week on Frenchmen Street, and on their breaks, they might go see the reggae band that's right next door. You might get the musicians from the reggae band to sit in with the brass musicians. Everyone is having fun.
New Orleans invented the brown paper bag party - usually at a gathering in a home - where anyone darker than the bag attached to the door was denied entrance. The brown bag criterion survives as a metaphor for how the black cultural elite quite literally establishes caste along color lines within black life.
I didn't date my wife in high school, but she was definitely by far the coolest woman there. She was definitely the most beautiful, but she also marched to the beat of her own drummer. I was in New Orleans 10 years after high school and my friend played matchmaker with us, and that's kind of how we got together.
It has to do a lot more than just twerking. It's feel good music; it makes people have a good time. It doesn't matter what type of situation they're in, we bounce all around New Orleans. Weddings, birthday parties, funerals. The whole nine yards, and it's a happy music, it turns people from a frown to a happy smile.
I was drafted by the New Orleans Saints, and quite frankly, I got worn out playing football. I got tired of it. With wrestling, there were so many variables that could go with it, so many directions you could go. Every night, it was different. Every night. It was a different town 7 nights a week and twice on Sunday.
Growing up, my parents were Roman Catholic - strict Catholics - from New Orleans. I understood the idea in the principle of spirituality. I noticed it in the stories that I read. The Trinity was something that was brought up consistently: the power of three. Things happened in threes, and I thought that was brilliant.
My dream is to leave this business on my own terms, and if it were my terms, I would love to do the Royal Rumble. I would love to do Wrestle Mania in New Orleans, because I had so many matches there over the years working for Mid-South. I was in the ring with Muhammad Ali in the Superdome. To close it there would be great.
What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.