Authenticity is seductive; we embrace it because it makes us feel exclusive. Hating Bourbon Street has valuable social currency, and it’s an easy step toward assuming co-ownership of “real” New Orleans culture. But declaring something to be inauthentic positions the critic in the dubious position of arbitrating reality. […] Worse, inauthenticity rests on the troubling supposition that not all human beings or human endeavors contribute equally to this thing we call culture.
Tag: neworleans

Candy Lady Grandbaby (Andrew J. Bell Jr. H.S. Crusaders Marching Band), 2010 by Bruce Davenport, Jr.. More info at AS IF Gallery. Via this month’s Harper’s.
Bruce Davenport Jr., lives and works in the now-infamous Lower Ninth Ward, devoting his time to meticulous graphic reenactments of the local musical culture of junior high and high school marching bands, those that were decimated by the levees breech and those that survive.
Where I live is culturally neutral. If I lived in New Orleans I’d have to embrace the local culture because it’s so good. In California you can be your own person.
Richard Thompson, in the Financial Times.
After listening to an interesting interview with Richard Florida on the “personal economics” of location, I’m not sure this is 100% why I feel so comfortable in L.A. I suspect it’s more a perfect stew of things—the autonomy/anonymity provided by a large metropolis, the proximity to likeminded souls, the insane cultural diversity and, hey, let’s not forget about the exceptional quality of Western light. But yeah, Chicago? Seattle? Portland? (Which would be a strong contender, except for that pesky light thing.) All distinctive. And maybe a little oppressive, because of it.
Warrants thought, anyway. Or maybe I’m just nuts, and really like thinking about shit like this.
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“Cultural neutrality” is just the phrase I’ve been looking for. It’s one of the reasons Atlanta has really grown on me as I’ve been able to compare it to other cities.

The State of New Orleans by Nigel Holmes for the New York Times.
