http://www.nola.com/music/index.ssf/2017/01/celebrity_second-lines_new_orl.html
Carrie Fisher parade sparks public conversation about second-lines, New Orleans culture
When Chewbacchus announced its intentions Dec. 27 to host a New Orleans second-line celebrating the life of Carrie Fisher, Martha Alguera didn't get it.
It's not that Alguera didn't understand the idea of the thing. After all, she and musician James Andrews organized a similar event just months earlier to celebrate Prince when he died. But Carrie Fisher? Alguera moved her thoughts to Facebook, where a battle was already raging about the Mardi Gras krewe's use of the term "second-line" to describe its intentions for Fisher's memorial.
"People later on were being really nasty about it, calling me a hypocrite because I was like, 'Really, Carrie Fisher needs a second-line?'" Alguera said of her post, which she eventually deleted. Alguera didn't see what tied Fisher, the activist and actress who played Princess Leia in "Star Wars," to New Orleans, although Prince's ties were something she felt keenly.
Within hours of announcing it, Chewbacchus knocked "second-line" from the event name, but the battle lines had been drawn.
"This debate was waiting to happen," said Ryan Ballard, co-founder of Chewbacchus. "It's about all the changes in New Orleans that have taken place over the last few years. Some good, some bad. It's the new New Orleans, post-Katrina world where the city is evolving."
For days, New Orleanians on social media pointed fingers at one another as they debated the appropriateness of the event. At the heart of it were questions of what defines New Orleans culture, who decides what it means and who gets to take part in some of the things that make it what it is?
"People in New Orleans take pleasure very seriously," wrote Matt Sakakeeny in an email. He is a music professor and researcher at Tulane University who authored "Roll With It: Brass Bands in the Streets of New Orleans" (2013, Duke University Press). "You'd think there'd be nothing simpler than joy, but the reaction to these parades shows how complicated it is."
Alguera and Andrews were not the first to plan a celebrity-related jazz funeral.
It's generally accepted that title goes to the 2009 second-line for Michael Jackson, which was led by the Revolution Social Aid & Pleasure Club, but it took several years for something similar to come along. And that was a David Bowie memorial.
The Preservation Hall Jazz Band, in conjunction with Arcade Fire's Win Butler and Regine Chassagne, who moved to New Orleans in recent years, organized an event for Jan. 16, 2016, in honor of Bowie. Initially calling it a "second-line," Preservation Hall creative director Ben Jaffe, who did not respond to text message requests to comment for this story, quickly reneged on the terminology and swapped in the words "memorial parade" after the event first went public on Facebook.
There seemed to be some concern over the cultural phrasing, and a handful of complaints bubbled to the surface.
But it still didn't stop various media publications -- including NOLA.com | The Times-Picayune -- from using "second-line." The event was wildly popular. Thousands of people filled the French Quarter and any hopes for a parade essentially vanished as attendees could barely move, and so it became something more like a block party.
Just a few months later, Prince died, and Alguera and Andrews got to work planning their own second-line, which is what they called their event.
"That was deliberate," Alguera said, "because it was going to be a second-line. ... We had Mardi Gras Indians and Baby Dolls and social aid and pleasure clubs that showed up on their own. ... To me, it felt authentic. That was the big thing."
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Jazz funerals are rooted in West African traditions where the lives of the deceased are honored and celebrated through music. Those traditions came to New Orleans with enslaved blacks and evolved for more than 100 years to become what we see today in the city's streets.
"There's a certain significance in people who have been made to suffer creating joy while here on earth, and sending out the deceased with a fanfare that captures that," Sakekeeny wrote. "In a jazz funeral, all those aspects are present -- the people and the emotions -- and if you try to break them apart you will run afoul of people who hold their traditions very close to them.
"There is a long history of whites appropriating black culture and the jazz funeral is a kind of tipping point," he wrote.
Protecting traditions, then, is how New Orleans got to fighting itself on Facebook for several days over the holiday season.