INTERVIEWS
georgedanderson.blogspot.com/2017/05/book-review-interview-todd-cirillo.html
Book Review/ Interview Todd Cirillo Burning the Evidence (Epic Rites Press, 2017) 70 pages
Burning the Evidence is the latest collection of poetry by the New Orleans resident and co-founder and editor of Six Ft. Swells Press Todd Cirillo. Some of the poems have originally appeared in small press mags such as Red Fez, Lummox Journal, Tree Killer Ink, Heavy Bear, Rattlesnake Press and others.
AN INTERVIEW WITH TODD CIRILLO 19 MAY 2017 by George Anderson
When did you first develop an interest in poetry and in writing the stuff?
Poetry was something that strangely appeared one day as a teenager. I was feeling some type of way and the words went from pen to paper before I even knew it was a poem. I became more interested as I met teachers, professors, writers who began to take an interest in the words I was putting down and they helped me craft the words into poetry.
Do you have a regular routine in getting the word down? How do you usually go about crafting a poem- from its inception to its final draft? Do you do much re-writing?
I hold no regular writing routine except for carrying around a small notebook, placing myself onto the railroad tracks for inspiration or creativity to roll over me and having the guts or stupidity to write it down. I write when inspired, which usually takes the form of an image. Almost like a still polaroid that appears before me, could be an actual image or sound, a line someone says, or the way she stands, a simple shiny moment that I pick up. I also tend to write in bursts, especially if I have someone or something to focus on, the floodgates open and I’m putting down many poems in a short period. I just have to let it happen.
I revise as much as needed to convey the emotion or feeling of that moment/scene. I see revision as necessary to the craft of poetry. I think it is so easy now people to just spit something into their Iphone or blog, call it a poem and put it out there or get up onstage and read what they just wrote two minutes ago, that people forget poetry is a craft. I want my poems to be good enough to work both on the page and the stage. I love to perform. I like to have fun up on stage.
To what extent is your poetry confessional? Do you make stuff up?
Yes my poetry is confessional, based in some twisted truth, with a dash of sincerity, hope, desire and bullshit. Most of the time I get inspired from my own situations/relationships for good or ill and put down what I thought may have occurred. You know what they say, unlucky in love, jackpot in poetry.
You write a lot about women. What’s the attraction? Do you create composites or strictly individuals?
I do write about women often. I say that with pride. I create composites or become inspired by a single person who shines and offers me something extraordinary, whether they know it or not; strangers or significant others. I might add that I also write poems about males as well but females have always been my touchstones. Women can provide pure comfort or chaos, sometimes both and that’s wonderful for me. I tell people that everything I write is a love poem in some form or another and I believe that. I’m in this constant search for love and always hold the belief that it’s going to happen this time or….the next or…the next, no matter how bruised, broken or betrayed I get…I am a true sucker for punishment or possibility.
Your poem “Me, You, Bob Dylan and the Bottle” is written for the poet Bill Gainer. I loved his collection “Lipstick and Bullet Holes” (Epic Rites Press, 2014). What have you learnt from the man and his poetry?
I would answer your question this way…I would say that Bill has probably learned as much from me as I have learned from him. Bill and I have been close friends for 17 years now. I bet we each have at least a book’s worth of material about the other; creativity begets creativity. We tend to share a like-minded view of what poetry is/should be/can be and our creative and personal friendship has a genuine appreciation to it that I am grateful for and most of all we have fun together. We have both been called masters of the short poem, a track he put me on many moons ago. Bill taught me the importance of clarity in a poem, economy of language and to give the reader a complete story in a poem. I also learned to be a great editor through working with him. I like to think that I inspire him and he gives me direction or bail money. I would do the same for him. Together we are widely known to put on legendary performances and put out legendary books such as the acclaimed book ROXY (R.L. Crow Publications 2003) which was Bill, myself and Will Staple.
Your poetry sparkles with good humor and levity. How do you keep this up in a world of growing darkness?
First off, my overall life view is pretty optimistic, I love a good time and enjoy the lighter and more relaxed side of existence to be sure.
Humor is a necessity for poetry because it is rare. I think that some poets tend to kill poetry mostly, especially at poetry readings. I say let the audience have a good time, give them a good time. We know horrific things exist in the world but sometimes it is good to just be reminded of the fun side too. If you are going to write a heavy poem with a serious topic, I say, try to write it in a different way than what has been written before. Full disclosure, I am not a poet who believes that a poem will/can change the world any longer, that time has passed for poetry. Poetry was once the top of the creative mountain but has been replaced with expediency and other art forms. My thought/feeling is that poetry has to return to the beauty and necessity of an interpersonal connection between two people, transmitting a feeling or emotion and allowing the other person to take it with them and hopefully, if the poet is good, that individual did not begin as a poetry fan but they are now.
Turning to your book “Burning the Evidence”, can you briefly describe your dealings with Epic Rites Press and the process in getting the book published?
The process was exquisitely simple. Wolfgang Carstens, the publisher and mastermind of Epic Rites Press, commented on a poem of mine that someone posted on social media and we began to correspond and I am a believer in shameless self-promotion so I offered him more poems. He read those and requested more, published the chapbook, SEXY DEVILS, as part of his excellent punk chapbook series and offered a full book deal which became Burning the Evidence. I cannot thank him enough. Wolfgang Carstens/Epic Rites Press is publishing some of the best poetry that is being written today. As a promoter he is unbelievable and when one steps into the poetry ring, he is one of the best cornermen in the business.
I note the front cover was designed by your friend Julie Valin from a Matt Amott photo. Can you explain the background to the design and the choice of the title, considering the tone and political subject matter of the title poem is strikingly different to the rest of the collection?
The cover design of this book and most of my books is always a collaborative effort by the best in the business, Julie Valin and Matt Amott, both top-shelf poets themselves. I have worked with Julie and Matt for over 12 years. I usually come up with the titles, which I did with Burning the Evidence, Matt took a photo, and Julie provided the graphic design and then Robert Hansen completed the back cover. Again, I have a strong belief that, with the right people, creativity begets creativity. It means so much to me to create with these people. I encourage everyone to look these poets up online.
In “Burning the Evidence” you suggest that the “whole filthy set up” should be burnt down. What was the context in which you wrote the poem? How did you come to reach that stage?
As you pointed out, the title poem holds a different tone and subject matter than other poems in the collection. I wanted to write a title poem, which I did not have, in fact Burning the Evidence was the last poem to be written and added to the book. The original version of the poem went in a completely different direction than the final version. I followed the poem where it needed to go and after about 3-4 revisions the final version arrived.
The poem was written in mid-October and I suppose the U.S. election was in my psyche in as much as I had a gross and twisted thought Trump would win. Maybe the underlying thought is, the rich stay rich, the poor stay poor and those with power like to hold onto that power at all costs. The last line really reflects that feeling; this election especially was a “filthy set up” but then again most of this life is as well; the rich stay rich and the poor stay poor. People vote or act against their own interests for the sake of feeling right or powerful, politicians do not give a shit about main street, especially today. Politicians have zero integrity and even if individuals attempt to live with integrity and get away with even that little bit, some sonofabitch will slap us down in one form or another. When I wrote the poem, I felt we (this nation) was on the verge of a national disgrace and now I believe Trump validates that almost daily. It’s disgusting.
Together with Julie Valin, you are one of the originators of the After-Hours Poetry movement and a co-founder and editor of Six Swells Press. Can you briefly outline your involvement in those projects and where they are headed?
The After-Hours Poetry movement really began with the publication of the book, ROXY (R.L. Crow Publications 2003) by myself, Bill Gainer, and Will Staple and the shows that we did all around. It was a style and support that hadn’t been seen before. It became a group of West Coast poets and writers like myself, Bill, Will, Julie Valin, Matt Amott, Annie Menebroker who was our poetic North star in a way and some others that really held a similar belief in what great poetry was and who it could be for. The philosophy remains, if the poet has to explain their poem to the audience then the poet has failed. This is poetry for truck-stops, bowling alleys and barrooms. We became known for not only the accessibility of our poetry but the shows we put on, which were rowdy and unpredictable (in the best way) and the support this group of poets have for one another. We also share a deep love for drinking, late-nights, craziness, barrooms, jukeboxes and Tom Waits.
I’ve been involved in every Six Ft. Swells project since we began in about 2007. Myself, Matt and Julie each have roles in the press that our talents lend to a project. Currently we are working on a couple beautiful poetic projects to be released later this year that will make the poetry world smile, whether it wants to or not. You can go to www.afterhourspoetry.com and sign up to get updates.
Have you recently stumbled upon some new authors you haven’t read before whom have impressed you?
I am having a wonderful time getting into some of the other Epic Rites authors. They are putting out top-shelf material and the support they give to myself and one another is really refreshing.
What are you working at the moment?
Poetically, I am helping some others with their manuscripts for publication by Six Ft. Swells Press or elsewhere and just editing poems for people, which I enjoy doing because it inspires me to write…most of the time. I am also working on my own next book, other poetry projects and saving up bail money for a weekend of readings I will do in July with Bill Gainer and Matt Amott in Dallas, Texas. Other than that, I am currently opening a beer, listening to Howlin Wolf and heading out to a crawfish boil.
Book Review/ Interview Todd Cirillo Burning the Evidence (Epic Rites Press, 2017) 70 pages
Burning the Evidence is the latest collection of poetry by the New Orleans resident and co-founder and editor of Six Ft. Swells Press Todd Cirillo. Some of the poems have originally appeared in small press mags such as Red Fez, Lummox Journal, Tree Killer Ink, Heavy Bear, Rattlesnake Press and others.
AN INTERVIEW WITH TODD CIRILLO 19 MAY 2017 by George Anderson
When did you first develop an interest in poetry and in writing the stuff?
Poetry was something that strangely appeared one day as a teenager. I was feeling some type of way and the words went from pen to paper before I even knew it was a poem. I became more interested as I met teachers, professors, writers who began to take an interest in the words I was putting down and they helped me craft the words into poetry.
Do you have a regular routine in getting the word down? How do you usually go about crafting a poem- from its inception to its final draft? Do you do much re-writing?
I hold no regular writing routine except for carrying around a small notebook, placing myself onto the railroad tracks for inspiration or creativity to roll over me and having the guts or stupidity to write it down. I write when inspired, which usually takes the form of an image. Almost like a still polaroid that appears before me, could be an actual image or sound, a line someone says, or the way she stands, a simple shiny moment that I pick up. I also tend to write in bursts, especially if I have someone or something to focus on, the floodgates open and I’m putting down many poems in a short period. I just have to let it happen.
I revise as much as needed to convey the emotion or feeling of that moment/scene. I see revision as necessary to the craft of poetry. I think it is so easy now people to just spit something into their Iphone or blog, call it a poem and put it out there or get up onstage and read what they just wrote two minutes ago, that people forget poetry is a craft. I want my poems to be good enough to work both on the page and the stage. I love to perform. I like to have fun up on stage.
To what extent is your poetry confessional? Do you make stuff up?
Yes my poetry is confessional, based in some twisted truth, with a dash of sincerity, hope, desire and bullshit. Most of the time I get inspired from my own situations/relationships for good or ill and put down what I thought may have occurred. You know what they say, unlucky in love, jackpot in poetry.
You write a lot about women. What’s the attraction? Do you create composites or strictly individuals?
I do write about women often. I say that with pride. I create composites or become inspired by a single person who shines and offers me something extraordinary, whether they know it or not; strangers or significant others. I might add that I also write poems about males as well but females have always been my touchstones. Women can provide pure comfort or chaos, sometimes both and that’s wonderful for me. I tell people that everything I write is a love poem in some form or another and I believe that. I’m in this constant search for love and always hold the belief that it’s going to happen this time or….the next or…the next, no matter how bruised, broken or betrayed I get…I am a true sucker for punishment or possibility.
Your poem “Me, You, Bob Dylan and the Bottle” is written for the poet Bill Gainer. I loved his collection “Lipstick and Bullet Holes” (Epic Rites Press, 2014). What have you learnt from the man and his poetry?
I would answer your question this way…I would say that Bill has probably learned as much from me as I have learned from him. Bill and I have been close friends for 17 years now. I bet we each have at least a book’s worth of material about the other; creativity begets creativity. We tend to share a like-minded view of what poetry is/should be/can be and our creative and personal friendship has a genuine appreciation to it that I am grateful for and most of all we have fun together. We have both been called masters of the short poem, a track he put me on many moons ago. Bill taught me the importance of clarity in a poem, economy of language and to give the reader a complete story in a poem. I also learned to be a great editor through working with him. I like to think that I inspire him and he gives me direction or bail money. I would do the same for him. Together we are widely known to put on legendary performances and put out legendary books such as the acclaimed book ROXY (R.L. Crow Publications 2003) which was Bill, myself and Will Staple.
Your poetry sparkles with good humor and levity. How do you keep this up in a world of growing darkness?
First off, my overall life view is pretty optimistic, I love a good time and enjoy the lighter and more relaxed side of existence to be sure.
Humor is a necessity for poetry because it is rare. I think that some poets tend to kill poetry mostly, especially at poetry readings. I say let the audience have a good time, give them a good time. We know horrific things exist in the world but sometimes it is good to just be reminded of the fun side too. If you are going to write a heavy poem with a serious topic, I say, try to write it in a different way than what has been written before. Full disclosure, I am not a poet who believes that a poem will/can change the world any longer, that time has passed for poetry. Poetry was once the top of the creative mountain but has been replaced with expediency and other art forms. My thought/feeling is that poetry has to return to the beauty and necessity of an interpersonal connection between two people, transmitting a feeling or emotion and allowing the other person to take it with them and hopefully, if the poet is good, that individual did not begin as a poetry fan but they are now.
Turning to your book “Burning the Evidence”, can you briefly describe your dealings with Epic Rites Press and the process in getting the book published?
The process was exquisitely simple. Wolfgang Carstens, the publisher and mastermind of Epic Rites Press, commented on a poem of mine that someone posted on social media and we began to correspond and I am a believer in shameless self-promotion so I offered him more poems. He read those and requested more, published the chapbook, SEXY DEVILS, as part of his excellent punk chapbook series and offered a full book deal which became Burning the Evidence. I cannot thank him enough. Wolfgang Carstens/Epic Rites Press is publishing some of the best poetry that is being written today. As a promoter he is unbelievable and when one steps into the poetry ring, he is one of the best cornermen in the business.
I note the front cover was designed by your friend Julie Valin from a Matt Amott photo. Can you explain the background to the design and the choice of the title, considering the tone and political subject matter of the title poem is strikingly different to the rest of the collection?
The cover design of this book and most of my books is always a collaborative effort by the best in the business, Julie Valin and Matt Amott, both top-shelf poets themselves. I have worked with Julie and Matt for over 12 years. I usually come up with the titles, which I did with Burning the Evidence, Matt took a photo, and Julie provided the graphic design and then Robert Hansen completed the back cover. Again, I have a strong belief that, with the right people, creativity begets creativity. It means so much to me to create with these people. I encourage everyone to look these poets up online.
In “Burning the Evidence” you suggest that the “whole filthy set up” should be burnt down. What was the context in which you wrote the poem? How did you come to reach that stage?
As you pointed out, the title poem holds a different tone and subject matter than other poems in the collection. I wanted to write a title poem, which I did not have, in fact Burning the Evidence was the last poem to be written and added to the book. The original version of the poem went in a completely different direction than the final version. I followed the poem where it needed to go and after about 3-4 revisions the final version arrived.
The poem was written in mid-October and I suppose the U.S. election was in my psyche in as much as I had a gross and twisted thought Trump would win. Maybe the underlying thought is, the rich stay rich, the poor stay poor and those with power like to hold onto that power at all costs. The last line really reflects that feeling; this election especially was a “filthy set up” but then again most of this life is as well; the rich stay rich and the poor stay poor. People vote or act against their own interests for the sake of feeling right or powerful, politicians do not give a shit about main street, especially today. Politicians have zero integrity and even if individuals attempt to live with integrity and get away with even that little bit, some sonofabitch will slap us down in one form or another. When I wrote the poem, I felt we (this nation) was on the verge of a national disgrace and now I believe Trump validates that almost daily. It’s disgusting.
Together with Julie Valin, you are one of the originators of the After-Hours Poetry movement and a co-founder and editor of Six Swells Press. Can you briefly outline your involvement in those projects and where they are headed?
The After-Hours Poetry movement really began with the publication of the book, ROXY (R.L. Crow Publications 2003) by myself, Bill Gainer, and Will Staple and the shows that we did all around. It was a style and support that hadn’t been seen before. It became a group of West Coast poets and writers like myself, Bill, Will, Julie Valin, Matt Amott, Annie Menebroker who was our poetic North star in a way and some others that really held a similar belief in what great poetry was and who it could be for. The philosophy remains, if the poet has to explain their poem to the audience then the poet has failed. This is poetry for truck-stops, bowling alleys and barrooms. We became known for not only the accessibility of our poetry but the shows we put on, which were rowdy and unpredictable (in the best way) and the support this group of poets have for one another. We also share a deep love for drinking, late-nights, craziness, barrooms, jukeboxes and Tom Waits.
I’ve been involved in every Six Ft. Swells project since we began in about 2007. Myself, Matt and Julie each have roles in the press that our talents lend to a project. Currently we are working on a couple beautiful poetic projects to be released later this year that will make the poetry world smile, whether it wants to or not. You can go to www.afterhourspoetry.com and sign up to get updates.
Have you recently stumbled upon some new authors you haven’t read before whom have impressed you?
I am having a wonderful time getting into some of the other Epic Rites authors. They are putting out top-shelf material and the support they give to myself and one another is really refreshing.
What are you working at the moment?
Poetically, I am helping some others with their manuscripts for publication by Six Ft. Swells Press or elsewhere and just editing poems for people, which I enjoy doing because it inspires me to write…most of the time. I am also working on my own next book, other poetry projects and saving up bail money for a weekend of readings I will do in July with Bill Gainer and Matt Amott in Dallas, Texas. Other than that, I am currently opening a beer, listening to Howlin Wolf and heading out to a crawfish boil.
Interview with Marcia Epstein “Talk With Me” (Kansas, 13 December 2016). The podcast is approximately one hour long: https://afterhourspoetry.com/2016/12/20/if-something-sucks-tell-the-poet/
Home of After Hours Poetry: https://afterhourspoetry.com
Home of After Hours Poetry: https://afterhourspoetry.com
www.newsreview.com/sacramento/pulse-of-poetry/content?oid=1403008
Pulse of poetryTodd Cirillo
By Elle Wrathall
Todd Cirillo writes poetry that includes everything you love: intelligence, rhythm, music, surprise, and a love and mastery of words. But it’s Cirillo’s unabashed honesty that leaves you feeling the need to smoke a cigarette after he’s had his way with you.
How did you initially get interested in poetry?
Poetry is the oldest form of artistic expression. It’s a direct line from your heart to the page. The goal of poetry is to represent an emotion in the cleanest and clearest way. A good poem needs to be like a little cherry bomb. Everything should be packed in the smallest package, and then it just explodes.
The first poem I wrote was on the back porch of my folks’ place. There was a summer Midwestern storm that came blowing through. I wrote down some words and that was it. It was uncomplicated. It was about a girl who’d broken up with me.
Did you share your poem with her?
No. It was just for me. In a notebook. Where everyone starts.
Describe your writing style.
I write “after hours” poetry and love poems. Both good love and bad.
What’s your poetic method?
My process is to go out and place myself on the railroad tracks. I want to hear and listen and observe, to allow things to happen and see what’s going to happen. That often includes sacrificing myself and my own relationships.
After you lay yourself on the tracks to create the poem, are you free from it?
Poetry can be a dangerous thing. William S. Burroughs said that poetry is made up of flaws. I like that. One of the hardships of being an artist is that you have to create, and someone can view it as being hurtful. But what is more important? Why do people choose to experience art in the first place? If you fall in love with someone because they write poems about beautiful women, you can’t keep worrying about that.
Have you ever had a cherry bomb just drop in your lap?
Yes. “Semantics” was one that just came to me like that.
Do you have some poems that you’re especially attached to?
Oh yes. There are definitely some that I’d like on a program of my existence, because they’re etched in me or they captured some kind of purity of who I am or who I want to be.
How has your style developed or changed?
I started by writing very long poems. Now, I write in a much more concise manner. I want to clearly convey the rain that’s hitting the city street and the sound of the neon bar sign, the conversation of two people picking up on each other. And no matter what my life situation is, I’ve been able to remain tuned in to those moments and to what I think is the pulse of poetry.
Too often poetry is viewed as an elitist endeavor. But when you write poetry about what really happens, and in a way that can be understood, poetry becomes more accessible. I want my poetry to be accessible to truck stops and barrooms and bowling alleys. By maintaining the elements of poetry, it’s kept from being condescending.
My poetry readings are more like a Van Halen concert, early 1980s. There’s lots of music, drinking and socializing. The poets may be the focal point for a time, but it’s more a bringing together of people.
Five years ago, Julie Valin, Matt Amott and I started our small press, Six Ft. Swells, to promote our work and make poetry more accessible. Our first meeting happened while sitting around in a bar, and ever since, anything that Six Ft. Swells puts out is a reason to have a party, see old friends, make new friends and turn people on to our poetry.
Who or what inspires you?
Poets, music and places. Bukowski, Kerouac, Corso and Lou Welch influence me. Music is also a constant. Otis Redding, Muddy Waters, Howling Wolf and [Led] Zeppelin are probably just as important to me as any poet. And there’s New Orleans. It’s fun. Music. Girls. There’s a freedom to be artistic there that I tap into … history and mystery. And there’s a dangerous, sexual and seedy edge there that comes through jazz and food and the architecture. I immediately felt at home there, the moment I heard the sounds. New Orleans writes the greatest love poems. I can fall in love there every time I’m there.
This article was published on 04.15.10.
Pulse of poetryTodd Cirillo
By Elle Wrathall
Todd Cirillo writes poetry that includes everything you love: intelligence, rhythm, music, surprise, and a love and mastery of words. But it’s Cirillo’s unabashed honesty that leaves you feeling the need to smoke a cigarette after he’s had his way with you.
How did you initially get interested in poetry?
Poetry is the oldest form of artistic expression. It’s a direct line from your heart to the page. The goal of poetry is to represent an emotion in the cleanest and clearest way. A good poem needs to be like a little cherry bomb. Everything should be packed in the smallest package, and then it just explodes.
The first poem I wrote was on the back porch of my folks’ place. There was a summer Midwestern storm that came blowing through. I wrote down some words and that was it. It was uncomplicated. It was about a girl who’d broken up with me.
Did you share your poem with her?
No. It was just for me. In a notebook. Where everyone starts.
Describe your writing style.
I write “after hours” poetry and love poems. Both good love and bad.
What’s your poetic method?
My process is to go out and place myself on the railroad tracks. I want to hear and listen and observe, to allow things to happen and see what’s going to happen. That often includes sacrificing myself and my own relationships.
After you lay yourself on the tracks to create the poem, are you free from it?
Poetry can be a dangerous thing. William S. Burroughs said that poetry is made up of flaws. I like that. One of the hardships of being an artist is that you have to create, and someone can view it as being hurtful. But what is more important? Why do people choose to experience art in the first place? If you fall in love with someone because they write poems about beautiful women, you can’t keep worrying about that.
Have you ever had a cherry bomb just drop in your lap?
Yes. “Semantics” was one that just came to me like that.
Do you have some poems that you’re especially attached to?
Oh yes. There are definitely some that I’d like on a program of my existence, because they’re etched in me or they captured some kind of purity of who I am or who I want to be.
How has your style developed or changed?
I started by writing very long poems. Now, I write in a much more concise manner. I want to clearly convey the rain that’s hitting the city street and the sound of the neon bar sign, the conversation of two people picking up on each other. And no matter what my life situation is, I’ve been able to remain tuned in to those moments and to what I think is the pulse of poetry.
Too often poetry is viewed as an elitist endeavor. But when you write poetry about what really happens, and in a way that can be understood, poetry becomes more accessible. I want my poetry to be accessible to truck stops and barrooms and bowling alleys. By maintaining the elements of poetry, it’s kept from being condescending.
My poetry readings are more like a Van Halen concert, early 1980s. There’s lots of music, drinking and socializing. The poets may be the focal point for a time, but it’s more a bringing together of people.
Five years ago, Julie Valin, Matt Amott and I started our small press, Six Ft. Swells, to promote our work and make poetry more accessible. Our first meeting happened while sitting around in a bar, and ever since, anything that Six Ft. Swells puts out is a reason to have a party, see old friends, make new friends and turn people on to our poetry.
Who or what inspires you?
Poets, music and places. Bukowski, Kerouac, Corso and Lou Welch influence me. Music is also a constant. Otis Redding, Muddy Waters, Howling Wolf and [Led] Zeppelin are probably just as important to me as any poet. And there’s New Orleans. It’s fun. Music. Girls. There’s a freedom to be artistic there that I tap into … history and mystery. And there’s a dangerous, sexual and seedy edge there that comes through jazz and food and the architecture. I immediately felt at home there, the moment I heard the sounds. New Orleans writes the greatest love poems. I can fall in love there every time I’m there.
This article was published on 04.15.10.
