New Orleans

Narrator : On August 29, 2005, a catastrophic hurricane named Katrina made landfall on the Gulf Coast of the United States.

旁白：2005年8月29日，一场名为“卡特里娜”的灾难性飓风在美国墨西哥湾沿岸登陆。

When the skies finally cleared, the survival of a major American city hung in the balance.

当天空最终放晴时，美国一座主要城市的生死存亡悬而未决。

For more than 200 years, that city had been an iconic feature on the national landscape — a vital port; a cosmopolitan mecca; a sensual, mysterious refuge.

200 多年来，这座城市一直是国家景观中的标志性建筑——重要的港口；国际化的麦加；一个感性而神秘的避难所。

Now, the storm had laid it waste, and raised a stark and previously unthinkable question: what exactly would America be without New Orleans?

现在，风暴将其夷为平地，并提出了一个严峻的、以前难以想象的问题：如果没有新奥尔良，美国到底会变成什么样子？

John Biguenet, Writer : We tend to look to New Orleans as a place where the past continues to live.

约翰·比盖内特（John Biguenet），作家：我们倾向于将新奥尔良视为一个过去继续存在的地方。

But I think much more important for the United States America is this is the place where the future is visible.

但我认为对美国来说更重要的是美国是一个未来可见的地方。

John Scott, Artist : For one thing, it's the cultural cradle of this country.

约翰·斯科特，艺术家：一方面，它是这个国家的文化摇篮。

I don't care what New York says.

我不在乎纽约怎么说。

This whole country was founded on the principle of the so-called melting pot and the blending of cultures.

整个国家是建立在所谓的熔炉和文化融合的原则之上的。

We've shown American how to do it.

我们已经向美国人展示了如何做到这一点。

Irvin Mayfield, Jazz Musician : The Constitution resides somewhere else, but the constitution of music resides here.

欧文·梅菲尔德，爵士音乐家：宪法位于其他地方，但音乐的宪法位于此处。

The constitution of food resides here.

食物的构成就在这里。

The constitution of art resides here.

艺术的构成就在这里。

Tom Piazza, Writer : You do learn very quickly with New Orleans that if you're going to love it you have to love it with its flaws.

汤姆·皮亚扎（Tom Piazza），作家：在新奥尔良，你很快就会知道，如果你要爱它，你就必须爱它的缺点。

It suffers from terrible poverty, terrible crime, but if you love something, you love it for what it is, not for what you wish it would be.

它遭受着可怕的贫困和可怕的犯罪，但如果你爱某样东西，你会因为它的本来面目而爱它，而不是因为你希望它成为什么样子。

Ari Kelman, Historian : New Orleans is such an alluring place.

Ari Kelman，历史学家：新奥尔良是一个如此迷人的地方。

The city really has become kind of embedded in the American imagination as something that's wholly different from the rest of this country but at the same time representative of some of the best of what we are and some of the worst of what we are.

这座城市确实已经融入了美国人的想象中，它与这个国家的其他地方完全不同，但同时也代表了我们最好的一面和最糟糕的一面。

Irvin Mayfield, Jazz Musician : New Orleans is a very old city, with a lot of tradition, a lot of culture that is born out of ceremony.

欧文·梅菲尔德（Irvin Mayfield），爵士音乐家：新奥尔良是一座非常古老的城市，有很多传统，很多文化都是从仪式中诞生的。

You can find history anywhere, but in New Orleans, it's kind of like we are always living the history.

你可以在任何地方找到历史，但在新奥尔良，我们似乎一直生活在历史之中。

The history is being lived on a daily basis.

历史每天都在发生。

People don't tell history, they do history.

人们不讲述历史，而是创造历史。

John Scott, Writer : There is so much history and cultural richness in that city that it oozes up out of the sidewalk.

约翰·斯科特，作家：这座城市有着如此丰富的历史和文化，以至于它从人行道上渗透出来。

You know, it's hard to be there and really be there and not begin to absorb that.

你知道，身处其中并且真正身处其中而不开始吸收它是很难的。

Of all the places I've been in the world, New Orleans is the only place I've ever been, where if you listen, sidewalks will speak to you.

在我去过的世界上所有的地方中，新奥尔良是我去过的唯一一个如果你倾听，人行道就会对你说话的地方。

Narrator : When wealthy travelers set out to see America in the nineteenth century, only a handful of cities were considered essential stops on the itinerary — and of those, none inspired more fascination than New Orleans.

旁白：十九世纪，当富有的旅行者出发去美国旅游时，只有少数城市被认为是行程中的必经之地——而在这些城市中，没有一个比新奥尔良更令人着迷。

"On arriving ...

“抵达后...

in the morning," one visitor remarked in 1819, "New Orleans has ...

早上，”一位游客在 1819 年说道，“新奥尔良......

a very imposing and handsome appearance ...

非常有气势和英俊的外表……

Everything has an odd look ...

一切看起来都很奇怪......

and I confess that ...

我承认...

it was impossible not to stare at a sight wholly new even to one who has traveled much in Europe and America."

即使对于经常游历欧洲和美洲的人来说，也不可能不去凝视这一全新的景象。”

Situated at a crescent-shaped bend in the Mississippi, about one hundred miles from its mouth, New Orleans was perched atop the river's natural levee — a ribbon of high ground that sloped gently down from the water's edge for a mile or two, then gave way to dense, mosquito-infested Cypress swamp.

新奥尔良位于密西西比河的新月形拐弯处，距离河口约一百英里，坐落在河流的天然堤坝之上——一条带状高地，从水边缓缓向下倾斜一两英里，然后被茂密、蚊子出没的柏树沼泽所取代。

Beyond the swamp to the north was Lake Pontchartrain, which led to the Gulf of Mexico.

沼泽地的北面是庞恰特雷恩湖，通往墨西哥湾。

New Orleans was a city surrounded by water.

新奥尔良是一座四面环水的城市。

Peirce Lewis, Geographer : If you think about North America the whole interior is drained by one of two river systems.

Peirce Lewis，地理学家：如果你想想北美，整个内陆地区都是由两个河流系统之一排水的。

One is the St. Lawrence by way of the Great Lakes, and the other is the Mississippi-Ohio-Missouri and the way to control the Mississippi and by the way, merely the whole interior of North America, southern part of the interior, was New Orleans.

一条是途径五大湖的圣劳伦斯河，一条是密西西比-俄亥俄-密苏里河以及控制密西西比河的途径，顺便说一句，只是北美的整个内陆地区，内陆的南部，就是新奥尔良。

There had to be a city there, even though the site was...was dicey.

那里一定有一座城市，尽管这个地点……很危险。

Ari Kelman, Historian : On the one hand it's the worst place imaginable to put a city.

阿里·凯尔曼（Ari Kelman），历史学家：一方面，这是可以想象的最糟糕的建立城市的地方。

A good portion of the city is below sea level.

城市的很大一部分位于海平面以下。

In some cases, as much as ten or fifteen feet below sea level.

在某些情况下，可能低于海平面十或十五英尺。

It's a terrible disease environment; they've had horrible epidemics throughout their history.

这是一个可怕的疾病环境；他们在历史上曾经历过可怕的流行病。

And of course they're on the path for these Gulf storms as they come up out of the Atlantic.

当然，当它们从大西洋上来时，它们就在海湾风暴的路径上。

On the other hand though, it's the best place imaginable to put a city, maybe the best place that you can imagine in the world to put a city.

但另一方面，它是可以想象的建立城市的最佳地点，也许是你可以想象的世界上建立城市的最佳地点。

Narrator : New Orleans had been founded as the capital of French Louisiana back in 1718, ceded to Spain and governed by her for nearly half a century, then briefly reclaimed by France — all before finally being sold to the United States, as part of the Louisiana Purchase, in 1803.

旁白：新奥尔良早在 1718 年就作为法属路易斯安那州的首府建立，后来割让给西班牙并由西班牙统治了近半个世纪，然后短暂地被法国收回——所有这一切最终在 1803 年作为购买路易斯安那州的一部分被卖给美国之前。

To that point, most of the native-born inhabitants of New Orleans had been French-speaking Roman Catholics, who called themselves Creoles.

到那时，大多数新奥尔良本地出生的居民都是讲法语的罗马天主教徒，他们自称克里奥尔人。

Unlike the Cajuns, the French-Canadian immigrants who had settled in the Louisiana countryside, the Creoles were primarily urban people — proudly Parisian in their manners and attitudes, and passionately devoted to the cultured enjoyment of life.

与定居在路易斯安那州乡村的法裔加拿大移民卡津人不同，克里奥尔人主要是城市居民，他们的举止和态度都以巴黎人为傲，并热衷于有文化的生活享受。

In the crowded colonial city, called the Vieux Carré — or old square — whites had lived side by side with blacks, among them Africans and people of mixed race, known variously as mulattoes, quadroons and octoroons.

在这个拥挤的殖民城市，被称为老广场（Vieux Carré）的地方，白人与黑人毗邻居住，其中包括非洲人和混血儿（被称为黑白混血儿、四元混血儿和八元混血儿）。

Some of them were slaves; others the so-called "free people of color" — many of them refugees from a bloody slave revolt in the former French colony of Haiti.

他们中有些人是奴隶；有些人是奴隶。其他人是所谓的“自由有色人种”，其中许多人是前法国殖民地海地血腥奴隶起义的难民。

Entitled to own property and operate their own businesses, the free people of color were by far the most prosperous black community in the United States.

自由的有色人种有权拥有财产并经营自己的企业，是迄今为止美国最繁荣的黑人社区。

Ari Kelman, Historian : The free people of color have their own cultural institutions.

阿里·凯尔曼，历史学家：自由的有色人种有自己的文化机构。

They have their own community.

他们有自己的社区。

But at the same time they interact quite easily with the white power structure in the city.

但与此同时，他们很容易与城市中的白人权力结构互动。

The kinds of clear separation that exist in other places in the United States just aren't present in New Orleans.

美国其他地方存在的那种明显的隔离在新奥尔良并不存在。

Raphael Cassimere, Jr., Historian : The amalgamation of the Africans and whites created basically one culture where everybody was accepted, belonged.

历史学家拉斐尔·卡西米尔 (Raphael Cassimere, Jr.)：非洲人和白人的融合基本上创造了一种文化，每个人都被接受、有归属感。

It worked well because people kind of understood class structure.

它运作良好，因为人们了解阶级结构。

I mean even though you lived next door to somebody didn't necessarily mean that you are socially their equal.

我的意思是，即使你住在某人的隔壁并不一定意味着你们在社交上与他们平等。

But free blacks as well as slaves had a place in society.

但自由黑人和奴隶一样在社会中占有一席之地。

Narrator : Into this century-old city of some 7,000 people had come the Americans — English-speaking, Protestant and accustomed to a rigid line between black and white.

旁白：来到这座拥有约 7,000 人的百年老城的美国人——讲英语的新教徒，习惯了严格的黑人和白人界限。

They had come pouring south from the eastern seaboard and the Kentucky hill country — most of them bent on making money, and doing so in the American way.

他们从东海岸和肯塔基州山区涌向南方——他们中的大多数人一心想赚钱，而且是以美国的方式赚钱。

Lawrence N.

劳伦斯·N.

Powell, Historian : We came in and we wanted to impose our ways on an alternative European civilization.

鲍威尔，历史学家：我们来到这里，我们想将我们的方式强加于另一种欧洲文明。

We wanted to impose the English language.

我们想强制使用英语。

We wanted to get rid of the local culture.

我们想摆脱当地文化。

So there was this struggle for the soul of New Orleans.

因此，新奥尔良的灵魂之争就发生了。

Narrator : By 1820, the Americans' commercial connections had made New Orleans a bustling entry port for bananas and coffee from Latin America; cotton, sugar, rice and tobacco from the plantations of the South; tens of thousands of slaves from Virginia.

旁白：到了 1820 年，美国人的商业联系使新奥尔良成为拉丁美洲香蕉和咖啡的繁忙入境港口；来自南方种植园的棉花、糖、大米和烟草；来自弗吉尼亚州的数万名奴隶。

Kalamu ya Salaam, Writer : New Orleans was the major international port in the South.

Kalamu ya Salaam，作家：新奥尔良是南方的主要国际港口。

It was the entry point for much of the traffic coming from Europe.

它是来自欧洲的大部分流量的入口点。

It was the easiest way to export grain, and heavy manufactured goods, most of which were coming out of the Midwest and all of them end up passing New Orleans.

这是出口谷物和重型制成品的最简单方式，其中大部分来自中西部，最终都经过新奥尔良。

Narrator : "In a few years," one observer concluded, "this will be an American town ...

旁白：“几年后，”一位观察家总结道，“这将成为一个美国小镇......

and everything French will in time disappear." It was a prediction that never quite came true.

法国的一切迟早都会消失。”这是一个从未完全实现的预测。

John Biguenet, Writer : The Americans were not given very serious regard.

约翰·比格内特（John Biguenet），作家：美国人并没有受到非常认真的对待。

That prejudice persisted so long that my grandfather you know, 200 years after the Louisiana Purchase still called tourists the Americans, the Americans came every summer, he said.

这种偏见持续了很长时间，以至于我的祖父，你知道，路易斯安那购买案 200 年后仍然称游客为美国人，美国人每年夏天都会来，他说。

Narrator : The Creoles' refusal to assimilate was so staunch that in the end, it would be etched into the map of the growing city.

旁白：克里奥尔人如此坚决地拒绝同化，以至于最终将其铭刻在不断发展的城市的地图上。

Decades after the Americans' arrival, the Vieux Carré remained the nearly-exclusive territory of the Creoles.

美国人到达几十年后，老方舱仍然是克里奥尔人几乎专属的领地。

The newcomers were settled farther upriver, with their own business district, called the "American sector," and a neighborhood of stately homes that would come to be known the Garden District.

新来者定居在更上游的地方，有自己的商业区，称为“美国区”，还有一个豪华住宅区，后来被称为花园区。

Street names changed as they crossed Canal, the so-called "neutral ground" between the French city and the American one — and what was Chartres on one side became Camp on the other.

当他们穿过运河时，街道名称发生了变化，运河是法国城市和美国城市之间所谓的“中立地”——一侧的沙特尔变成了另一侧的营地。

Each side had its own opera house and its own churches, its own shipping canals, reservoirs and levees.

双方都有自己的歌剧院、自己的教堂、自己的运河、水库和堤坝。

And each had its own ruling class — a small, select elite comprised of those who were both wealthy and white.

每个国家都有自己的统治阶级——一个由富人和白人组成的小型精英阶层。

Meanwhile, as the port prospered, New Orleans lured immigrants from all over the world — from France and the French colonies in the West Indies; from China and the Philippines, Ireland, Germany and Sicily.

与此同时，随着港口的繁荣，新奥尔良吸引了来自世界各地的移民——来自法国和西印度群岛的法国殖民地；来自中国和菲律宾、爱尔兰、德国和西西里岛。

By the middle of the nineteenth century, New Orleans would be home to some one hundred thousand people, forty percent of them foreign-born and more of mixed racial ancestry than anywhere else in the United States.

到 19 世纪中叶，新奥尔良将拥有大约十万人，其中 40% 是在外国出生的，而且混血血统比美国其他任何地方都多。

Ari Kelman, Historian : New Orleans is a place that never has a single truly dominant culture.

阿里·凯尔曼（Ari Kelman），历史学家：新奥尔良是一个从来没有单一的真正占主导地位的文化的地方。

You've got these French Creoles, this Creole elite in the city that doesn't want to lose power and you've got American newcomers who...who want power very, very badly.

你有这些法国克里奥尔人，这个城市里的克里奥尔精英不想失去权力，还有美国新移民……他们非常非常渴望权力。

You've got again, slaves and free people of color.

你们又看到了奴隶和自由的有色人种。

Then you've got people from all over the world and they all have to live sort of cheek by jowl.

然后还有来自世界各地的人们，他们都必须挤在一起生活。

And it makes for a, a very, very complicated cultural dynamic and in some cases, very exciting cultural dynamic but one that also can be very, very explosive.

它形成了一种非常非常复杂的文化动态，在某些情况下，非常令人兴奋的文化动态，但也可能非常非常具有爆炸性。

Narrator : Over the century to come, the many and varied peoples of New Orleans would struggle to live together — contending with one another to sink roots in unstable soil.

旁白：在未来的一个世纪里，新奥尔良的众多不同民族将努力共同生活——相互竞争，以便在不稳定的土壤中扎根。

Along the way, they would make their city the site of a radical experiment in American democracy, one that would test whether diversity would prove a dangerous liability or a vital, creative force.

一路走来，他们将使自己的城市成为美国民主进行激进实验的场所，该实验将测试多样性是否会成为一种危险的负担，还是一种至关重要的创造力。

Narrator : It was mid-afternoon in New Orleans when the crowd began to gather at the foot of Canal Street.

旁白：新奥尔良正午时分，人群开始聚集在运河街脚下。

The date was February 25, 1873, and the city — like the rest of the American South — had yet to emerge from the long shadow of Civil War.

日期是 1873 年 2 月 25 日，而这座城市——就像美国南方的其他地方一样——尚未摆脱内战的长期阴影。

Captured by Union troops not long after the conflict began, New Orleans had endured three years of military occupation and a ruinous interruption of trade before the Confederates finally surrendered in 1865.

冲突开始后不久，新奥尔良就被联邦军队占领，经历了三年的军事占领和毁灭性的贸易中断，直到 1865 年南方联盟最终投降。

The years since had been marked by unrelenting turmoil and steady economic decline -- and the city was now hovering on the brink of chaos.

此后的几年里，动荡不断，经济持续下滑，这座城市现在徘徊在混乱的边缘。

To New Orleanians, it was an ideal moment for a party.

对于新奥尔良人来说，这是聚会的理想时刻。

By the time the sun went down on Canal Street, thousands of them had turned out to witness the procession of "Rex," the self-proclaimed King of Carnival and the official leader of the annual Mardi Gras parade.

当太阳在运河街落下时，成千上万的人已经出来观看“雷克斯”的游行，他自称为狂欢节之王，也是一年一度的狂欢节游行的官方领导者。

Kalamu ya Salaam, Writer : It's Fat Tuesday.

Kalamu ya Salaam，作家：今天是肥胖的星期二。

It's the last chance to fatten yourself up before Easter.

这是复活节前最后一次增肥的机会。

And so it's a religious holiday with pagan roots that never caught on in the rest of the United States because the rest of the United States was Protestant and not Catholic.

因此，这是一个具有异教根源的宗教节日，但从未在美国其他地区流行，因为美国其他地区信奉新教而不是天主教。

Lawrence N.

劳伦斯·N.

Powell, Historian : Carnival was something that came over from, from France and it began as a street celebration where people would mask and they'd have dances and balls so actually it percolated up from the streets, but the, the, the Carnival that a lot of people know today that's around these "krewes," these parades, these organized parades is something that was superimposed on Carnival.

鲍威尔，历史学家：狂欢节是从法国传来的，它开始是一种街头庆祝活动，人们会戴上面具，跳舞和舞会，所以实际上它是从街道上渗透出来的，但是今天很多人知道的狂欢节是围绕这些“克鲁斯”，这些游行，这些有组织的游行是叠加在狂欢节之上的。

George Schmidt, Painter : the Creoles celebrated it.

画家乔治·施密特：克里奥尔人庆祝它。

And they celebrated it so well, that at a point, in the mid 19th century, the Americans in their, "We can do anything" attitude say, "Well, we are going to take it and improve it." "We are going to give it some shape, some order." So they decide they were going to put on a procession.

他们对此进行了如此热烈的庆祝，以至于在 19 世纪中叶的某个时刻，美国人以“我们可以做任何事情”的态度说：“好吧，我们将接受它并改进它。” “我们将给它一些形状，一些秩序。”所以他们决定举行游行。

And it was unbelievably popular.

它非常受欢迎。

Lawrence N.

劳伦斯·N.

Powell, Historian : If you really begin to, peel away the layers of meaning and symbolism you have a, a governing group there that's never really felt entirely in control.

鲍威尔，历史学家：如果你真的开始剥去层层意义和象征意义，你就会发现，那里的统治集团从未真正感觉完全处于控制之中。

They've tried to rule, but this has been a city too unruly to rule.

他们试图统治，但这座城市太不守规矩，无法统治。

The organized parade is something to kind of assert their primacy and to say, "Well, we can be arbiters of culture."

有组织的游行是为了维护他们的首要地位，并说：“好吧，我们可以成为文化的仲裁者。”

Narrator : The parade rolled on hour after hour, well into the night — a river of masked revelers and extravagant floats, jugglers and torch-bearers and marching bands.

旁白：游行队伍一小时又一小时地进行，一直持续到深夜——戴着面具的狂欢者、奢华的花车、杂耍者、火炬手和游行乐队组成的河流。

As New Orleanians liked to say, it was by far "the greatest free show on earth."

正如新奥尔良人喜欢说的，这是迄今为止“地球上最伟大的免费表演”。

But for the spectators in 1873, the most vivid impression would be left by the last division, the members of a secret Carnival society — or krewe — called Comus, after the ancient god of mirth.

但对于 1873 年的观众来说，最生动的印象是最后一支队伍，他们是一个秘密狂欢节社团（或 krewe）的成员，名为 Comus，以古代欢乐之神命名。

They emerged out of the gathering darkness, all wearing enormous papier-mÂché animal heads that poked fun at Charles Darwin's controversial theory of evolution by portraying well-known public figures as missing links in the chain.

他们从渐浓的黑暗中出现，都戴着巨大的纸质动物头像，通过将知名公众人物描绘成链条中缺失的一环，来嘲笑查尔斯·达尔文颇具争议的进化论。

Benjamin Butler, the Union General responsible for the wartime occupation of New Orleans, appeared as a hyena; President Ulysses S.

负责战时占领新奥尔良的联邦将军本杰明·巴特勒以鬣狗的形象出现；总统尤利西斯·S.

Grant, a man rarely seen without his cigar, a lowly tobacco grub.

格兰特，很少有人不带雪茄，这是一种低等的烟草幼虫。

But the most pointed lampoon came late in the evening, during the exclusive Comus ball, with the crowning of the "The Gorilla" — a caricature of Oscar J.

但最尖锐的讽刺出现在当晚，在 Comus 的独家舞会上，“大猩猩”——奥斯卡·J·肯尼迪 (Oscar J.

Dunn, who recently had served as Louisiana's lieutenant governor and had been the first black person elected to that office anywhere in the United States.

邓恩最近担任路易斯安那州副州长，是美国第一位当选该职位的黑人。

Harpers Weekly magazine hailed the Comus pageant as "irresistibly laughable." But the spectacle was hardly all in jest.

《哈泼斯周刊》杂志称赞科姆斯选美比赛“令人难以抗拒地可笑”。但这一景象并非全是玩笑。

James Gill, Journalist : The intent was to mock Darwin's theory itself and also the absurdity that a black man should be at the apex of society.

詹姆斯·吉尔，记者：目的是嘲笑达尔文的理论本身，以及黑人应该处于社会顶端的荒谬。

So you have an attack not just on the Darwin theories, but on the social disruption that they feared it might contribute to and which of course they thought was already happening in their view during the Reconstruction era.

因此，你不仅攻击了达尔文理论，还攻击了他们担心达尔文理论可能造成的社会混乱，当然他们认为在重建时期他们认为这种情况已经发生了。

Narrator : To the men behind the fanciful Comus masks, members of the secretive and socially-exclusive Pickwick Club, there were few words in the English language more loathsome than "reconstruction."

旁白：对于那些戴着奇特的科姆斯面具的人来说，他们是秘密的、在社会上排他性的匹克威克俱乐部的成员，英语中没有什么词比“重建”更令人厌恶了。

The term referred to an 1867 act of Congress that had subjected the states of the former Confederacy, including Louisiana, to federal military rule; but to the Pickwickians, it was synonymous with defeat and humiliation.

该术语指的是 1867 年国会法案，该法案将包括路易斯安那在内的前联邦各州置于联邦军事统治之下；但对于匹克威克派来说，这就是失败和羞辱的代名词。

Before the Civil War, the men of the Pickwick Club had been the elite of New Orleans.

内战之前，匹克威克俱乐部的成员是新奥尔良的精英。

In their dealings as prominent businessmen and bankers, professionals and politicians, they had considerable contact with blacks, especially with the free people of color.

在作为著名商人、银行家、专业人士和政客的交往中，他们与黑人，特别是自由的有色人种有大量接触。

But such racial mixing always had taken place against the backdrop of an unquestioned social hierarchy: slaves on the bottom rung, free people of color in the middle, whites on top.

但这种种族混合总是在毫无疑问的社会等级背景下发生的：奴隶位于底层，自由的有色人种位于中间，白人位于顶层。

Reconstruction had changed all that.

重建改变了这一切。

With Congress dictating the terms of Louisiana's readmission to the Union, and U.S. Army forces on hand to ensure compliance, blacks had been given rights previously unheard of anywhere in the United States.

随着国会决定路易斯安那州重新加入联邦的条款，以及美国陆军确保遵守规定，黑人获得了在美国任何地方都闻所未闻的权利。

First, they had been made voters and officeholders.

首先，他们成为选民和官员。

Then, in 1868, Louisiana had passed its Reconstruction Constitution, which granted to all citizens of the state — black and white — absolute equality under the law.

随后，路易斯安那州于 1868 年通过了重建宪法，该宪法赋予该州所有公民（黑人和白人）法律面前人人平等的权利。

Lawrence N.

劳伦斯·N.

Powell, Historian : The 1868 constitution was in racial terms the most radical and progressive constitution anywhere in America.

历史学家鲍威尔：从种族角度来看，1868 年宪法是美国最激进、最进步的宪法。

And it was pushed by the free people of color in New Orleans who not only were wealthier but ...

它是由新奥尔良的自由有色人种推动的，他们不仅更富有，而且......

and more educated, but I think more politically sophisticated and self-confident.

受过更多教育，但我认为在政治上更加成熟和自信。

And they said, "Listen, equality isn't just legal, it doesn't mean we have the right to vote or the right to sit in juries.

他们说：“听着，平等不仅是合法的，它并不意味着我们有投票权或担任陪审团的权利。

It means we have a right to equal standing in the public order."

这意味着我们有权在公共秩序中享有平等地位。”

Kalamu ya Salaam, Writer : The Constitution reflected the thinking of black people who had a stake in governing their lives in ways in which in other parts of the country black people had not yet achieved.

卡拉穆·亚·萨拉姆，作家：宪法反映了黑人的思想，黑人以全国其他地区黑人尚未实现的方式管理自己的生活与他们息息相关。

You had blacks who were lawyers, who were doctors and what have you, who were bi and tri-lingual.

有些黑人是律师，有些是医生，还有什么黑人会说双语和三语。

And not just people who were ex-slaves.

不仅仅是前奴隶的人。

So these people have a different consciousness and it manifests itself in political terms.

所以这些人有不同的意识，它体现在政治方面。

Ari Kelman, Historian : And of course there's an entrenched white power structure that finds that abhorrent, distasteful, profoundly threatening, and those people do everything in their power to sort of turn back the clock.

阿里·凯尔曼（Ari Kelman），历史学家：当然，有一个根深蒂固的白人权力结构，它认为这种行为是可憎的、令人反感的、具有深刻的威胁，而这些人会尽一切努力来扭转时光。

Narrator : Inspired by the Ku Klux Klan, aggrieved Pickwickians now joined with other whites in New Orleans and formed a volunteer militia called the Crescent City White League.

旁白：受到三K党的启发，愤愤不平的匹克威克派现在与新奥尔良的其他白人一起组建了一支名为新月城白人联盟的志愿民兵组织。

According to the League's published platform, their aim was to put an end to Reconstruction — and to what they called "the most absurd inversion of the relations of race."

根据该联盟公布的平台，他们的目标是结束重建——以及他们所说的“种族关系最荒谬的倒置”。

On September 14, they took action.

9月14日，他们采取了行动。

That morning, the leaders of the White League held a mass rally on Canal Street and urged the several thousand men in attendance to return to their homes, arm themselves and seize control of the state government.

当天早上，白色联盟领导人在运河街举行了大规模集会，敦促数千名参加集会的人返回家园，武装自己并夺取州政府的控制权。

During the tense hours that followed, White Leaguers marched on the Customs House, where Louisiana's governor was holed up in an office, and demanded his resignation.

在接下来的紧张时期，白人联盟成员游行到路易斯安那州州长躲在办公室里的海关大楼，要求他辞职。

When he refused to step down, a force of several hundred White League members opened fire on the city's bi-racial police force, leaving eleven dead and sixty more wounded.

当他拒绝下台时，数百名白人联盟成员组成的部队向该市的混血警察部队开枪，造成十一人死亡、六十人受伤。

By the end of the day, the White League was in full control of New Orleans.

到当天结束时，白人联盟完全控制了新奥尔良。

Lawrence N.

劳伦斯·N.

Powell, Historian : Basically what they did was launch a coup d'etat.

历史学家鲍威尔：基本上他们所做的就是发动政变。

But President Grant and Republicans in Washington said no, this is too much of a defiance of legitimate order.

但格兰特总统和华盛顿的共和党人表示不，这太过于藐视合法秩序。

Narrator : Grant immediately dispatched federal troops — and within a week, the insurrection had been subdued.

旁白：格兰特立即派遣联邦军队——一周之内，叛乱就被平息了。

But the federal intervention would only fuel the resistance to Reconstruction.

但联邦干预只会助长对重建的抵制。

James Gill, Journalist : You could look at that as the beginning of the end of the Reconstruction era because the White League remained strong, in fact was patrolling the streets in 1877 when the federals finally decided to withdraw and then once the federals went, then white society was free to undo what had been done in Reconstruction.

记者詹姆斯·吉尔：你可以将其视为重建时代结束的开始，因为白人联盟仍然强大，事实上，1877 年联邦最终决定撤军时，白人联盟正在街头巡逻，一旦联邦撤军，白人社会就可以自由地撤销重建时期所做的一切。

So in fact the Confederates had lost the war but of course were about to win the peace.

因此，事实上，南方联盟已经输掉了战争，但当然即将赢得和平。

Ari Kelman : New Orleans spends a lot of time trying to segregate itself socially and racially, trying to figure out who's white, who's black, who's American, who's Creole, and that's what happens with Carnival.

阿里·凯尔曼：新奥尔良花了很多时间试图在社会和种族上隔离自己，试图弄清楚谁是白人，谁是黑人，谁是美国人，谁是克里奥尔人，这就是嘉年华所发生的事情。

There's all the very, very complicated racial and social dynamics that play out during carnival.

狂欢节期间会发生非常非常复杂的种族和社会动态。

The different krewes represent different segments of the city's socio-economic and racial makeup.

不同的克鲁代表了城市社会经济和种族构成的不同部分。

People are trying very, very hard to identify clearly who they are by joining certain krewes at Carnival.

人们非常非常努力地通过加入狂欢节上的某些克鲁人来清楚地识别自己是谁。

Mother : Rex has always been a part of our family.

母亲：雷克斯一直是我们家庭的一部分。

Growing up, having a grandfather who was king.

从小到大，有一个当国王的祖父。

My grandparents, my parents, my uncles, my aunts were involved.

我的祖父母、父母、叔叔、阿姨都参与其中。

They've been very active in the organization.

他们在组织中非常活跃。

Queen : You see the queens and the kings every year when you watch the parade and you know its just, its just weird to think that its me this year.

女王：每年当你观看游行时，你都会看到女王和国王，你知道今年是我，这很奇怪。

It's such an honor

这是多么荣幸

Coach : We're going to do entrance to the ball but were not going to be able to walk the whole way.

教练：我们要进入球，但不能走完全程。

Remember stretch your arm out.

记得伸出你的手臂。

Up.

向上。

Walk in.

走进去。

Project to your audience.

投影给您的观众。

Good.

好的。

Come on the floor.

到地板上来。

Y'all stand for a second.

你们都站一会儿。

Good.

好的。

Look at Rex, boss him around.

看看雷克斯，指挥他。

Ok, Good.

好的，很好。

Good.

好的。

Mother : It's going to be a beautiful ball.

妈妈：这将是一个美丽的舞会。

It's all gold.

都是金子啊

And she's just going to come out with a big old smile on her face and just brighten up the whole room.

她出来时脸上会挂着灿烂的笑容，照亮整个房间。

Coach : Out.

教练：出去。

Move your hands all the way around.

四处移动你的手。

End up looking at your pages.

最后查看您的页面。

Mother : It's just going to be beautiful.

妈妈：那会很漂亮。

Flag Man : Well, we have the royal flag here.

旗人：嗯，我们这里有皇家旗帜。

I'd like to present this flag to you.

我想把这面旗帜送给你。

Mother : Holy Mackerel.

母亲：神圣的鲭鱼。

I didn't realize it was this big.

我没有意识到它有这么大。

Flag Man : This is yours.

旗人：这是你的。

From the organization.

来自组织。

Dresser : Are you ready?

梳妆台：你准备好了吗？

Gee, I've never actually done this.

哎呀，我从来没有真正这样做过。

Mother : She knows all the cues and they have their signals, and she knows when to change her scepter from her right hand to her left hand, and she knows when to bow.

母亲：她知道所有的暗示，他们有他们的信号，她知道什么时候把权杖从右手换到左手，她知道什么时候鞠躬。

And of course she's a little nervous, but she's got the stamina and she's got the poise that she'll handle it just beautifully.

当然，她有点紧张，但她有耐力，也有镇定的态度，可以完美地处理这一切。

Look at her, doesn't she look gorgeous?

看看她，是不是很漂亮呢？

Father : It is a beautiful shawl.

父亲：这是一条漂亮的披肩。

It really sparkles in the light too.

它在灯光下也确实闪闪发光。

You're such a pretty girl.

你真是个漂亮的女孩。

Mother : The minute the monarchs step out on the floor, it is just breathtaking.

母亲：当君主踏上地板的那一刻，真是令人叹为观止。

Truly it's a play.

确实是一场戏。

They know the cues and they have their signals.

他们知道线索并且有信号。

And it's a beautiful set.

这是一套漂亮的作品。

They have fountains going, and the women are all dressed up all so pretty.

他们有喷泉，女人们都打扮得很漂亮。

And the men are all so handsome.

而且男人们都那么帅。

And it's a big wow for anybody who's never seen it.

对于任何从未见过它的人来说，这都是一个巨大的惊喜。

Rex is the soul of our city.

雷克斯是我们城市的灵魂。

This is what makes it so unique and so charming.

这就是它如此独特和迷人的原因。

We're and old city.

我们是老城。

We've got these traditions that haven't gone away.

我们的这些传统还没有消失。

Evidently they work.

显然他们有效。

Narrator : On the first of September 1891, eighteen prominent New Orleanians assembled at the French Quarter offices of The Crusader , the city's black weekly newspaper, to discuss a looming crisis.

旁白：1891 年 9 月 1 日，十八位新奥尔良知名人士聚集在该市黑人周报《十字军》的法国区办公室，讨论迫在眉睫的危机。

Fourteen years had passed since federal Reconstruction had come to an end — and in that time, the once-buoyant hopes of black Americans had been swamped by savage violence.

自联邦重建结束以来已经过去了十四年——在那时，美国黑人曾经充满希望的希望被野蛮的暴力所淹没。

Over the previous year alone, more than a hundred black southerners had been lynched — an average of two each week.

仅在前一年，就有一百多名南方黑人被私刑处死——平均每周有两人。

Racial discrimination, meanwhile, had begun to be written into law.

与此同时，种族歧视已开始写入法律。

In Louisiana, the legislature recently had passed the Separate Car Act, requiring railroad companies to provide separate accommodations for white and black passengers, and similar laws already were pending in five other states across the South.

在路易斯安那州，立法机构最近通过了《分车法案》，要求铁路公司为白人和黑人乘客提供分开的住宿，南方其他五个州也正在等待类似的法律。

Rebecca Scott, Historian : Equal but separate, that was the phrase and what was happening in that moment of equal but separate had to do with much more than the first-class railway car.

丽贝卡·斯科特，历史学家：平等但分离，这就是这句话，在平等但分离的那一刻发生的事情不仅仅与头等火车车厢有关。

It had to do with the state of Louisiana saying to its population of color, you are different.

这与路易斯安那州对其有色人种说：“你们是不同的”有关。

You are to be excluded.

你应该被排除在外。

Narrator : Now, The Crusader's chief editorial contributor, Rodolphe Desdunes, had called upon the elite in New Orleans' black community to spearhead the resistance.

旁白：现在，《十字军》的首席社论撰稿人鲁道夫·德沙内斯呼吁新奥尔良黑人社区的精英带头抵抗。

This "law is unconstitutional," Desdunes argued.

德杜内斯认为，这项“法律违宪”。

"It is like a slap in the face of every member of the black race."

“这就像打在每个黑人种族成员脸上的一记耳光。”

Like most of those present at The Crusader meeting, Desdunes was a so-called "Creole of color" and hailed from the community of blacks who had been free before the Civil War.

与参加十字军会议的大多数人一样，德沙内斯是所谓的“有色克里奥尔人”，来自内战前获得自由的黑人社区。

Born in 1849 to a Haitian father and a Cuban mother, he had grown up in the Vieux Carré, where many people of color were so light-skinned as to be indistinguishable from whites; where French was spoken in the streets; and where the ideals of the French Revolution -- liberté, fraternité and egalité — could be easily recited by any school-aged child.

他出生于 1849 年，父亲是海地人，母亲是古巴人，在 Vieux Carré 长大，那里的许多有色人种肤色都很浅，与白人没有什么区别。街上说法语的地方；在这里，任何学龄儿童都可以轻松背诵法国大革命的理想——自由、博爱和平等。

[alt: liberty, fraternity, equality]

[替代：自由、博爱、平等]

Too young to have participated in the equal rights struggles during Reconstruction, Desdunes was instead their beneficiary — and had come of age in the most integrated city in the South.

德沙讷还太年轻，无法参与重建期间的平权斗争，但他却是他们的受益者——并且在南方一体化程度最高的城市长大。

Kalamu ya Salaam, Writer : Here you have people who had been living free for years and years — doctors, lawyers, craftspeople, etc. And all of a sudden you're in a society where they had to have a separate car for people of color and a separate car for whites.

Kalamu ya Salaam，作家：在这里，人们已经自由地生活了很多年——医生、律师、工匠等。突然之间，你就进入了一个社会，他们必须为有色人种提供一辆单独的汽车，为白人提供一辆单独的汽车。

They fought against it.

他们与之抗争。

Raphael Cassimere, Jr., Historian : These people believed that it was illegal to impose racial segregation in public places.

拉斐尔·卡西米尔，历史学家：这些人认为在公共场所实行种族隔离是非法的。

They were confident if they got this to court, the courts were going to rule that the state does not have the right to force passengers to sit in certain cars.

他们相信，如果将此事告上法庭，法院将裁定国家无权强迫乘客坐在某些车厢内。

Narrator : Calling themselves the Citizens Committee, Desdunes and his fellow activists began to meet in secret at The Crusader's offices — and over the next several months, their plan took shape.

旁白：德沙内斯和他的活动人士同伴自称为公民委员会，开始在十字军的办公室秘密聚会——在接下来的几个月里，他们的计划逐渐成形。

A person of color would be sent to board a whites-only railroad car.

有色人种将被派去登上白人专用的火车车厢。

When the conductor directed him to the car for blacks, he would refuse to go.

当售票员指示他去黑人车厢时，他拒绝去。

Once he had been arrested and charged, the Citizens Committee legal team would use his case to challenge the Separate Car Act in the courts.

一旦他被捕并受到指控，公民委员会法律团队将利用他的案件在法庭上质疑分车法。

The man selected to act the part of the passenger was a fellow New Orleanian, a shoemaker named Homer Plessy.

被选中扮演乘客的人是新奥尔良人，一位名叫霍默·普莱西的鞋匠。

By his own accounting, Plessy was seven-eighths white — and the African blood, he noted, was "not discernible."

根据他自己的统计，普莱西有八分之七是白人，而且他指出，非洲血统“难以辨别”。

Lawrence N.

劳伦斯·N.

Powell, Historian : What they wanted to show is if you couldn't tell the difference between a black person and a white person isn't any line of racial differentiation by definition arbitrary and capricious?

鲍威尔，历史学家：他们想要表明的是，如果你无法区分黑人和白人之间的区别，那么从定义上看，任何种族歧视的界限都不是任意的和反复无常的吗？

I mean how ...

我的意思是如何...

if you can't tell the difference, how can you make a law saying that people should be separated?

如果你无法区分，你怎么能制定法律规定人们应该分开呢？

Narrator : In November 1892, in a session of the Louisiana Criminal Court, Judge John Howard Ferguson held Homer Plessy guilty of violating the Separate Car Act.

旁白：1892 年 11 月，在路易斯安那州刑事法院的一次开庭中，约翰·霍华德·弗格森法官判定荷马·普莱西违反《分车法》有罪。

The Citizens Committee would appeal the ruling, all the way to the Supreme Court of the United States.

公民委员会将对这一裁决提出上诉，一直上诉到美国最高法院。

As Desdunes explained to those who criticized the move as too aggressive: "We believe that it is ...

正如德杜内斯向那些批评此举过于激进的人解释的那样：“我们认为这是......

more noble and worthy to fight than to show oneself passive and resigned."

比表现出消极和听天由命更崇高、更值得战斗。”

Rebecca Scott, Historian : Rodolphe Desdunes was fighting this one to win it.

丽贝卡·斯科特（Rebecca Scott），历史学家：鲁道夫·德沙内斯（Rodolphe Desdunes）正在与这个人战斗以赢得胜利。

But he was also fighting this one for the record.

但他也在为这一记录而战。

So that if anyone claimed that what forced racial segregation was simply a customary means of southern life, there would be an indisputable record that this group of people had fought it tooth and nail.

因此，如果有人声称强制种族隔离只是南方生活的一种习惯手段，那么就会有一个无可争议的记录，表明这群人曾竭尽全力与之抗争。

Narrator : It took more than four years for Plessy v.

旁白：普莱西诉美国案花了四年多的时间。

Ferguson to work its way through the courts.

弗格森通过法庭努力解决问题。

Meanwhile, the segregation laws on Louisiana's books multiplied.

与此同时，路易斯安那州图书上的种族隔离法成倍增加。

Then came the U.S. Supreme Court ruling on Plessy .

随后美国最高法院对普莱西做出了裁决。

In May 1896, with only one Justice dissenting, the Court upheld the right of states to segregate people on the basis of race.

1896 年 5 月，在只有一名大法官持反对意见的情况下，法院维持了各州基于种族隔离人民的权利。

Among those rendering the majority opinion was Justice Edward Douglas White, member of the New Orleans Pickwick Club, formerly Private White, Company E, Crescent City White League.

提出多数意见的人包括爱德华·道格拉斯·怀特法官，他是新奥尔良匹克威克俱乐部的成员，前身为新月城白人联盟E连二等兵怀特。

Desdunes and his fellow activists were crushed.

德杜内斯和他的积极分子同伴们被压垮了。

"Notwithstanding this decision," they wrote, "we, as freemen, still believe that we were right."

“尽管做出了这个决定，”他们写道，“作为自由民，我们仍然相信我们是对的。”

Rebecca Scott, Historian : When we think back on this moment, and the lost opportunity, it is extraordinarily poignant.

丽贝卡·斯科特，历史学家：当我们回想起这一刻以及失去的机会时，这是非常令人心酸的。

I think part of what makes it so painful, is to realize that when they lost in 1896, it meant that the entire country lost an opportunity to really embody the new birth of freedom that the Civil War had been meant to create.

我认为，造成如此痛苦的部分原因是他们意识到，当他们在 1896 年失败时，这意味着整个国家失去了真正体现内战本应创造的自由新生的机会。

And it opened up the space for something very different to be built.

它为建造一些非常不同的东西开辟了空间。

And once that edifice of white supremacy was built it would be impossible to dismantle, by normal political means.

白人至上的大厦一旦建成，就不可能通过正常的政治手段拆除。

Narrator : Soon after the decision, The Crusader ceased publication and the Citizens Committee disbanded.

旁白：决定后不久，《十字军》停止出版，公民委员会解散。

Over the next several years, under so-called Jim Crow statutes, blacks in New Orleans and throughout the South would be deprived of the right to vote, and relegated to separate facilities that, in most cases, were decidedly unequal.

在接下来的几年里，根据所谓的吉姆·克劳法，新奥尔良和整个南方的黑人将被剥夺投票权，并被转移到单独的设施中，在大多数情况下，这些设施显然是不平等的。

By World War I, even the Catholic Churches would impose the color line.

到第一次世界大战时，甚至天主教会也强行规定了肤色界限。

But statutes alone could not unravel the racial complexity of New Orleans.

但仅靠法规并不能揭示新奥尔良的种族复杂性。

Just before Jim Crow was to take effect on the city's streetcars in 1902, the president of one company complained that the new law imposed an unfair burden.

1902 年，就在吉姆·克劳法即将在该市的有轨电车上生效之前，一家公司的总裁抱怨说，新法律强加了不公平的负担。

James Gill, Journalist : The company made a statement and I can't remember it verbatim, but the effect was ...

记者詹姆斯·吉尔：公司发表了一份声明，我记不清了，但效果是……

we picked ...

我们选了...

our conductors are intelligent, educated men and they're competent and can do a reasonable job, but no one can tell the difference between blacks and whites in this place.

我们的售票员都是聪明、受过教育的人，他们有能力，可以做一份合理的工作，但在这个地方没有人能区分黑人和白人。

Narrator : As if to prove to the point, in 1921, long after blacks had been barred from the polls, Homer Plessy would fill out a voter registration card — and list his race as "white."

旁白：仿佛是为了证明这一点，1921 年，在黑人被禁止参加投票很久之后，霍默·普莱西填写了一张选民登记卡，并将他的种族列为“白人”。

Leah Chase : On August the 29th, I'll never forget that day, Dooky Chase really took a whipping.

Leah Chase：8 月 29 日，我永远不会忘记那天，Dooky Chase 真的受到了鞭打。

We had five feet of water.

我们有五英尺深的水。

Five feet of water on the bar, about three feet in the dining rooms.

酒吧里有五英尺深的水，餐厅里有大约三英尺的水。

My whole restaurant is gone.

我的整个餐厅都消失了。

It is gutted all out.

它已经全部被掏空了。

I have nowhere to start, nothing.

我无处可开始，什么也没有。

Leah Chase : Oh, this is a disaster.

利亚·蔡斯：哦，这真是一场灾难。

This was once my beautiful dining room.

这曾经是我美丽的餐厅。

HA.

哈。

That was just there.

就在那里。

We had to rip out that wall because you see they tell you, you rip out a foot or a couple of feet over where the water stop, and the water stopped along here like two feet.

我们必须把那堵墙拆掉，因为你看他们告诉你，你在水停的地方拆掉一英尺或几英尺，水就在这里停了两英尺。

I worked the kitchen seven days a week from eight o'clock until we close at night.

我每周在厨房工作 7 天，从八点钟一直到晚上关门。

And that can get a bit weird.

这可能会有点奇怪。

And you wonder how you did it or how you'd do it again if you have to do it.

你想知道你是如何做到的，或者如果你必须这样做的话你会如何做。

But I'd like to be doing it again.

但我想再做一次。

Back in the old days, I married into the restaurant.

以前，我嫁给了餐馆。

In '41 My mother in law lived next door.

41 年，我婆婆住在隔壁。

But you have to understand now, in '41, African Americans did not eat out.

但你现在必须明白，在 41 年，非裔美国人没有出去吃饭。

Well they had no place to eat out to begin with.

好吧，他们一开始就没有地方吃饭。

They had no restaurants, as we know restaurants today.

正如我们今天所知的餐馆一样，他们没有餐馆。

Everybody; Duke Ellington, as great as he was, there was no place for him to eat, he had to eat here.

大家；艾灵顿公爵，再伟大，也没有地方吃饭，他只能在这里吃饭。

King Cole had to eat here.

科尔王必须在这里吃饭。

Everybody had to eat here.

每个人都必须在这里吃饭。

Oh, mercy.

哦，怜悯。

These kettles, I'm glad nothing happened to them.

这些水壶，我很高兴它们没有发生任何事情。

See because the water didn't get up to maybe nine inches.

看吧，因为水可能没有达到九英寸。

But I can make 20 gallons of gumbo in here, and 30 gallons in here.

但我可以在这里制作 20 加仑的浓汤，在这里可以制作 30 加仑的浓汤。

So one lady say "You can't get rid of that stove.

所以一位女士说：“你无法摆脱那个炉子。

Some museum wants this stove.

有些博物馆想要这个炉子。

Look how many people you've cooked for on this stove." Well, I cooked for a lot of people.

看看你用这个炉子给多少人做饭了。”嗯，我为很多人做饭。

I cooked for Thurgood Marshall on this stove.

我用这个炉子为瑟古德·马歇尔做饭。

I cooked for Big Daddy King on this stove.

我用这个炉子为大爸爸金做饭。

I cooked for everybody on this stove.

我用这个炉子为大家做饭。

Leah Chase : But I think it's time for Leah to get another stove.

利亚·蔡斯：但我认为利亚是时候再买一个炉子了。

Leah Chase : Oh, Lord, he agrees.

利亚·蔡斯：哦，主啊，他同意了。

He agrees I get another stove.

他同意我再买一个炉子。

Leah Chase : This is going to be a quick gumbo.

Leah Chase：这将是一道快速浓汤。

You know the kitchen to me is what saves me.

你知道厨房对我来说是拯救我的东西。

And that's the way it is in New Orleans.

新奥尔良就是这样。

If you lose a member of your family, people start bringing you food.

如果你失去了一名家庭成员，人们就会开始给你送食物。

Food is like a healer to us.

食物对我们来说就像是治愈者。

And when we give it to you, we feel we doing something great for you.

当我们把它交给您时，我们感觉我们正在为您做一些伟大的事情。

Leah Chase : We don't need to baptize.

利亚·蔡斯：我们不需要施洗。

You know that's what the Creoles would say, you know.

你知道克里奥尔人会这么说。

They make this giant pot of gumbo.

他们制作了这一巨大的浓汤。

Now you'd make a pot of gumbo, like that pot, in the average family.

现在你会做一锅浓汤，就像普通家庭中的那个锅一样。

So when you got more guests, you know they say, oh Lord, here come more guests, we got to baptize the gumbo.

所以当你有更多的客人时，你知道他们会说，哦主啊，来了更多的客人，我们必须给秋葵汤施洗。

So that meant you had to put a little bit more water in the gumbo.

所以这意味着你必须在秋葵汤里多放一点水。

Leah Chase : More people don't understand about my restaurant more than anything else, I had to build a whole community.

Leah Chase：更多的人不了解我的餐厅，我必须建立一个完整的社区。

People wonder why you do what you do, why you stay in the neighborhood.

人们想知道你为什么要做你所做的事情，为什么你住在附近。

Well you stay where you're comfortable and you stay where you're needed.

好吧，你呆在你舒服的地方，你呆在需要你的地方。

And I feel that we need to be here.

我觉得我们需要在这里。

We need to save our neighborhood.

我们需要拯救我们的社区。

John Biguenet, Writer : When you travel outside New Orleans, if you're a New Orleanian, you feel as if you're always in exile.

约翰·比盖内特（John Biguenet），作家：当你到新奥尔良以外的地方旅行时，如果你是新奥尔良人，你会感觉自己好像一直在流亡。

People, in our experience, after we fled New Orleans, because of Katrina, could not have been more generous to us.

根据我们的经验，在我们因卡特里娜飓风而逃离新奥尔良后，人们对我们非常慷慨。

Everywhere we went, we were offered the kindest hospitality.

无论我们走到哪里，我们都受到最热情的款待。

But every gesture of that hospitality reminded us we weren't home.

但热情好客的每一个举动都在提醒我们我们不在家。

The food was different, the accent was different, the coffee was weaker.

食物不同，口音不同，咖啡更淡。

Everything pushed us to come back, where we'd be among our friends and our community.

一切都促使我们回来，回到我们的朋友和社区之中。

Narrator : In New Orleans, always and everywhere, there was music.

旁白：在新奥尔良，无论何时何地，都有音乐。

And like the people who lived there at the turn of the century, it came from all over the world — French waltzes and Spanish habaneras, German polkas, Irish ballads and Italian arias, rhythms at once African and Cuban and Caribbean.

就像世纪之交生活在那里的人们一样，它来自世界各地——法国华尔兹和西班牙哈瓦那舞曲、德国波尔卡舞、爱尔兰民谣和意大利咏叹调，节奏既来自非洲，又来自古巴和加勒比海。

Tom Piazza, Writer : Every different strain in this city maintained its color and each of them brought with them a very vibrant musical culture.

汤姆·皮亚扎（Tom Piazza），作家：这座城市的每一种不同的音乐都保持着自己的色彩，每一种都带来了充满活力的音乐文化。

Also, New Orleans had a big tradition of street music.

此外，新奥尔良有着悠久的街头音乐传统。

There were all these little groups of serenaders, who would go around, and they ...

那里有一小群小夜曲，他们会四处走动，他们......

little string bands just like a mandolin and maybe a fiddle and a guitar.

小弦乐队就像曼陀林，也许还有小提琴和吉他。

And they'd just kind of rove the streets in the evening, and they might stop underneath your window and play you a little tune, and maybe you'd throw some money down for them.

他们只是在晚上在街上闲逛，他们可能会停在你的窗下，为你演奏一首小曲，也许你会为他们扔一些钱。

You'd also have something called spasm bands, which were just little groups, of usually of very young kids who might have like a kazoo and a washboard And this was constant.

你还会有一种叫做痉挛乐队的东西，它们只是小团体，通常由很小的孩子组成，他们可能有卡祖笛和洗衣板，这是恒定的。

George Schmidt, Painter : I can remember, everything was vended off the street.

画家乔治·施密特：我记得，所有东西都是在街上贩卖的。

And so a lot of the vendors would have a chant, "I got bananas.

所以很多摊贩都会高呼：“我有香蕉。

I got watermelons.

我有西瓜。

I got bananas.

我有香蕉。

I have a watermelon." You know, they would come down the street.

我有一个西瓜。”你知道，他们会沿着街道过来。

In a cart.

在购物车里。

In a big wagon pulled by a mule, you know, and that was all over the place.

你知道，在一辆由骡子拉着的大车里，到处都是这样的东西。

Narrator : There were dozens of brass bands in town, and they played wherever New Orleanians gathered — at picnics and political rallies, backyard birthday parties, dance halls and saloons.

旁白：镇上有几十支铜管乐队，他们在新奥尔良人聚集的地方演奏——野餐、政治集会、后院生日聚会、舞厅和酒吧。

And in a city where, as a visitor once observed, "no hour of the day was immune from a parade," they often brought the music right into the streets — providing accompaniment for everything from Mardi Gras and lodge celebrations to funeral processions.

正如一位游客曾经观察到的那样，在这座城市，“一天中的任何一个小时都免不了游行”，他们经常将音乐带到街道上——为从狂欢节、小屋庆祝活动到葬礼游行等各种活动提供伴奏。

The sound seemed to ricochet all over town.

这声音似乎传遍了整个城镇。

"It was like a phenomenon, like the Aurora Borealis," one New Orleanian recalled, "...

“这就像一种现象，就像北极光一样，”一位新奥尔良人回忆道，“......

that music could come on any time."

音乐可以随时响起。”

Kalamu ya Salaam, Writer : New Orleans is an outside culture.

Kalamu ya Salaam，作家：新奥尔良是一种外来文化。

New Orleans, unlike most of the rest of the United States, has the procession as part and parcel of cultural daily life so that things move through the community rather than the community going to one spot.

与美国其他大部分地区不同，新奥尔良将游行作为文化日常生活的重要组成部分，因此事物在社区中流动，而不是社区聚集到一个地点。

Tom Piazza, Writer : If you are sitting in your living room or parlor and a parade comes down the street, you're likely to hear it and to want to come out and check it out the way all your neighbors are doing.

汤姆·皮亚扎（Tom Piazza），作家：如果你坐在客厅或客厅里，街上有游行队伍，你很可能会听到它，并想像你所有的邻居一样走出来看看。

It encourages a kind of communal celebration to, to occur almost continually, in the neighborhoods.

它鼓励在社区中几乎不断地举行某种公共庆祝活动。

John Scott, Artist : There is a kind of intimacy of living in New Orleans that's a little bit different than other places.

约翰·斯科特，艺术家：新奥尔良的生活有一种亲密感，与其他地方有点不同。

Even under segregation, neighborhoods were basically mixed.

即使在种族隔离的情况下，社区也基本上是混合的。

I mean people had to experience each other.

我的意思是人们必须互相体验。

Ari Kelman, Historian : Rich, poor, white, non-white, people all live on top of each other.

阿里·凯尔曼，历史学家：富人、穷人、白人、非白人，人们都生活在彼此之上。

It's not a matter of choice, you know the city's not so utopian as all that, it's just necessity.

这不是选择的问题，你知道这座城市并不那么乌托邦，这只是必然。

There's nowhere else to go.

没有其他地方可去。

The city's confined to this narrow swath of land that, that, that shadows the river so that leads to a kind of, really, unusual cultural mixing in New Orleans.

这座城市被限制在这片狭窄的土地上，遮盖着河流，从而导致了新奥尔良一种真正不寻常的文化融合。

Narrator : As one Afro-Creole remembered it: "We always swapped platters of our best cooking with the French and Italians next door.

旁白：一位非洲裔克里奥尔人回忆道：“我们总是与隔壁的法国人和意大利人交换我们最好的菜肴。

...

...

Whenever we had dinner ...

每当我们吃晚饭的时候...

it was just over the fence."

它就在栅栏外面。”

George Schmidt, Painter : I like to use the word "various, variety." We have a, a variety of customs here.

画家乔治·施密特：我喜欢用“各种、各种”这个词。我们这里有各种各样的习俗。

And they are not "diverse" in the sense you draw a line between you and me.

他们并不是你我之间划清界线意义上的“多元化”。

What it means is, is that the culture is transmittable.

它的意思是，文化是可以传承的。

It transmits.

它传送。

It transfers.

它转移。

It doesn't depend upon your race.

这并不取决于你的种族。

Narrator : So it was that in the mid-1890's, all of New Orleans heard what some would later call "the big noise." It came from way uptown, from a neighborhood of Irish, German and African-American laborers, many of the blacks recent migrants from the Mississippi Delta.

旁白：所以在 1890 年代中期，整个新奥尔良都听到了后来被一些人称为“巨大噪音”的声音。它来自住宅区，来自爱尔兰、德国和非裔美国劳工的社区，其中许多黑人是最近从密西西比三角洲移民过来的。

It had echoes of the improvised music those new arrivals brought with them — the spirituals of the Baptist church and the blues.

它与新来者带来的即兴音乐相呼应——浸信会教堂的灵歌和布鲁斯音乐。

But it was set to the syncopated rhythms of ragtime, which was fast becoming the most popular dance music in America.

但它是以拉格泰姆的切分音节奏为背景的，拉格泰姆很快成为美国最流行的舞曲。

The sound — which someone dubbed the "hot blues" — was unlike anything New Orleanians had ever heard, and they were mad for it.

这种声音——有人称之为“热蓝调”——与新奥尔良人听过的任何声音都不一样，他们为之疯狂。

Wherever the hot bands played, the crowds followed.

热门乐队演奏到哪里，人群就跟到哪里。

They jammed the honky-tonks and the dance halls, cheering and stomping and slow dancing -- sometimes until sunrise.

他们挤满了酒吧和舞厅，欢呼、跺脚、慢舞——有时直到日出。

"We had to change," one local player recalled, "we couldn't make a living otherwise."

“我们必须改变，”一位当地球员回忆道，“否则我们就无法谋生。”

Soon, musicians all over town, black and white, were riffing on the style — and playing fresh, off-the-cuff variations on the standards.

很快，全城的音乐家，无论是黑人还是白人，都开始重复这种风格，并根据标准演奏新鲜的、即兴的变奏。

Even classically trained Afro-Creoles had to admit the black musicians uptown were on to something.

即使是受过古典音乐训练的非洲裔克里奥尔人也不得不承认住宅区的黑人音乐家是有道理的。

"I don't know how they do it," one Creole violinist marveled.

“我不知道他们是怎么做到的，”一位克里奥尔小提琴家惊叹道。

"But goddamn, they'll do it.

“但是该死的，他们会这么做的。

Can't tell you what's on the paper, but just play the hell out of it."

无法告诉你纸上写的是什么，但只能尽情发挥。”

John Scott, Artist : We have never separated so-called folk art, fine art.

约翰·斯科特，艺术家：我们从来没有将所谓的民间艺术、美术分开。

The umbilical of our culture, folk and fine has never been cut.

我们的文化、民俗和美好的脐带从未被切断过。

So one respects the other.

所以一个人尊重另一个人。

That's not true, in European culture.

在欧洲文化中，情况并非如此。

I think once the folk rises to the certain level, there is a cutoff, and it becomes something different.

我觉得民间一旦上升到一定程度，就会有一个界限，就变得不一样了。

Ownership changes.

所有权变更。

With us, there is no change in ownership.

对于我们来说，所有权没有变化。

So things that develop in the street, are absorbed, and constantly refined, even by the so-called fine artists.

因此，街头发展的事物被吸收并不断提炼，甚至被所谓的优秀艺术家所吸收。

Narrator : By the dawn of the 20th century, the unique, hybrid culture of New Orleans had spawned a distinctive new style of music: a swinging fusion of African rhythm and European harmony, of bold improvisation and technical virtuosity — "Not spirituals or the blues or ragtime," said one musician, "but everything all at once, each one putting something over on the other."

旁白：到了 20 世纪初，新奥尔良独特的混合文化催生了一种独特的新音乐风格：非洲节奏与欧洲和声的摇摆融合、大胆的即兴创作和精湛的技术——“不是圣歌、布鲁斯或拉格泰姆，”一位音乐家说，“而是一切都同时发生，每个人都在对方身上叠加了一些东西。”

Tom Piazza: : What New Orleans really offered at that extraordinary time in its history was a working model of democracy at its most ideal.

汤姆·皮亚扎：新奥尔良在其历史上那个非凡的时刻真正提供的是最理想的民主运作模式。

You had a real melding of all the different kinds of musical forms you couldn't really take out the French element or the African element or the Caribbean element, without unraveling the entire fabric.

你真正融合了所有不同类型的音乐形式，如果不解开整个结构，你就无法真正去掉法国元素、非洲元素或加勒比元素。

It wouldn't be the same thing.

这不会是同一件事。

Narrator : As yet, few outside of New Orleans had heard the new sound.

旁白：到目前为止，新奥尔良以外的地方很少有人听到过这种新声音。

But in the years to come, scores of musicians would pack up their instruments and hop aboard steamboats and railcars headed north -- among them Nick LaRocca and Sidney Bechet, Kid Ory, Joe Oliver and Jelly Roll Morton, and a one-time hustler turned trumpeting sensation named Louis Armstrong.

但在接下来的几年里，许多音乐家会收拾好他们的乐器，跳上汽船和火车向北行驶——其中包括尼克·拉罗卡和西德尼·贝切特、基德·奥里、乔·奥利弗和杰利·罗尔·莫顿，还有一位名叫路易斯·阿姆斯特朗的曾经的骗子，后来成为红人。

Within a generation or two, their music would be heard all around the world.

一两代人之内，他们的音乐将传遍世界各地。

By then, no one is sure just how, the New Orleans sound had come to be known as jazz.

到那时，没有人知道新奥尔良的声音是如何被称为爵士乐的。

John Scott, Artist : I think jazz is probably the only original American cultural contribution to the world that didn't come from somewhere else.

约翰·斯科特，艺术家：我认为爵士乐可能是美国对世界唯一非来自其他地方的原创文化贡献。

You know Jazz was born in the streets of New Orleans.

你知道爵士乐诞生于新奥尔良的街头。

And it's amazing that that little bitty place exported this product that literally changed world culture.

令人惊奇的是，这个小地方出口的这种产品确实改变了世界文化。

Irvin Mayfield, Jazz Musician : The jazz story is not only a musical story, it's an American story of a way of life.

爵士音乐家欧文·梅菲尔德：爵士乐的故事不仅是一个音乐故事，也是一个美国生活方式的故事。

You have to have people wanting to participate with one another.

你必须有人愿意互相参与。

You know we can think of cities all around this country that have had many years of having all kind of cultures living with one another, but if they don't participate in a certain way, if they don't celebrate together, if they don't come and marry these traditions, you're not going to birth anything significant like jazz.

你知道，我们可以想到这个国家各地的城市，多年来各种文化相互共存，但如果他们不以某种方式参与，如果他们不一起庆祝，如果他们不来结合这些传统，你就不会诞生任何像爵士乐这样重要的东西。

And I think the city of New Orleans did it because of that participation.

我认为新奥尔良市之所以能做到这一点，是因为这种参与。

Lawrence N.

劳伦斯·N.

Powell, Historian : Well, New Orleans seems to have the strongest local attachment of any place I've ever lived in.

鲍威尔，历史学家：嗯，在我住过的所有地方中，新奥尔良似乎对当地的依恋是最强烈的。

I think almost eighty percent of the people who live there were born there.

我想几乎百分之八十的住在那里的人都是在那里出生的。

George Schmidt, Painter : In New Orleans you didn't feel as if you had to leave it.

画家乔治·施密特：在新奥尔良，你并不觉得必须离开它。

There was no, you didn't say, "Oh, I, I could find something better elsewhere." People here were convinced [LAUGHS] that this was place was the center of, of the, of the universe.

不，你没有说，“哦，我，我可以在别处找到更好的东西。”这里的人们确信[笑]这个地方是宇宙的中心。

Rick Bragg, Writer : When you walk down the streets and you hear a 12 year old kid blowing his heart out on a battered trumpet, yeah you can get trumpets anywhere, but there's something about the sound of it here, in the air, you know, the land shifts under your feet here.

作家里克·布拉格：当你走在街上，你会听到一个 12 岁的孩子用破旧的喇叭吹出他的心声，是的，你可以在任何地方听到喇叭的声音，但这里的声音有一些东西，在空气中，你知道，这里的土地在你脚下移动。

It makes no sense at all to want to own a piece of it.

想要拥有它的一部分根本没有任何意义。

Yet, you know a lot of us do.

然而，你知道我们很多人都这样做。

Narrator : The rain began to fall on New Orleans sometime during the early morning hours of April 15th, 1927, Good Friday.

旁白：1927 年 4 月 15 日耶稣受难日的清晨，新奥尔良开始下雨。

Already since January, there had been four storms more severe than any in the previous decade.

自一月份以来，已经发生了四次比过去十年中任何一次都更严重的风暴。

But this one would be the worst.

但这将是最糟糕的。

Over the next eighteen hours, some fifteen inches of rain would fall — more in one day than New Orleans typically got in its wettest month.

在接下来的十八小时内，降雨量将达到约十五英寸——一天之内的降雨量比新奥尔良最潮湿月份的通常降雨量还要多。

Uptown, in one of the grand homes that lined St. Charles Avenue, James Pierce Butler Jr. woke to the sound of the rain, lashing against his windows.

住宅区，在圣查尔斯大道两旁的一栋宏伟住宅中，小詹姆斯·皮尔斯·巴特勒 (James Pierce Butler Jr.) 被雨声敲打窗户的声音吵醒。

Butler cut an imposing figure.

巴特勒有着令人印象深刻的形象。

Six-foot-five, driven and notoriously aloof, he headed up New Orleans' Canal Bank, the only one in the South to rank among the world's largest, and served as President of the Boston Club, a group that revered wealth and power every bit as much as the Pickwickians.

他身高六英尺五英寸，精力充沛且冷漠，是南方唯一一家跻身世界最大银行之列的新奥尔良运河银行的负责人，并担任波士顿俱乐部的主席，该俱乐部与匹克威克派一样崇尚财富和权力。

He was also one of just six private citizens to sit on the Board of Liquidation of the City Debt, the agency that held the key to the municipal coffers.

他也是城市债务清算委员会仅有的六名私人公民之一，该机构掌握着市政金库的钥匙。

John Barry, Writer : It was a private organization, made up almost exclusively of the most important bankers and lawyers of the city.

约翰·巴里（John Barry），作家：这是一个私人组织，几乎完全由该市最重要的银行家和律师组成。

They had lifetime appointments, like the supreme court.

他们有终身任命，比如最高法院。

But when one of them died or left, they named the next person to succeed them.

但当其中一人去世或离开时，他们就会指定下一个人来接替他们。

They weren't named by the governor or the mayor.

他们不是由州长或市长命名的。

And the city couldn't issue bonds for schools or roads or anything else, without the approval of this board of self-appointed bankers.

未经这个自封的银行家委员会的批准，该市不能为学校、道路或其他任何东西发行债券。

Narrator : In years past, a man of Butler's position might have been alarmed by the downpour outside.

旁白：在过去的几年里，像巴特勒这样的人可能会对外面的倾盆大雨感到惊慌。

To a city situated largely below sea level, heavy rain meant floods, floods meant chaos, and chaos was never good for business.

对于一个大部分位于海平面以下的城市来说，大雨就意味着洪水，洪水意味着混乱，而混乱对商业来说从来都不是好事。

But for now anyway, Butler was not troubled by the storm.

但无论如何，现在巴特勒并没有被风暴所困扰。

The Wood pump would take care of that.

伍德泵会解决这个问题。

Lawrence N.

劳伦斯·N.

Powell, Historian : the Wood pump was invented by a Tulane engineer, A.

历史学家鲍威尔：伍德泵是由杜兰大学工程师 A.

Baldwin Wood, who worked for the Sewage and Water Board.

鲍德温·伍德（Baldwin Wood）曾在污水和水务局工作。

And he came up with a pump, a screw pump that had enough power, enough, propulsive power to, to not only lift up the water but then to push it out over the levees.

他发明了一台泵，一台螺杆泵，它有足够的动力，足够的推进力，不仅可以提升水，还可以将其推出堤坝。

And once you had that hydrology in place so much becomes possible.

一旦水文学到位，一切就变得可能。

Narrator : The Wood pump had been the cornerstone of an ambitious, turn-of-the-century effort to shore up the city's economy, which had been faltering ever since the Civil War.

旁白：伍德泵是世纪之交雄心勃勃的振兴城市经济的基石，自内战以来，该市经济一直步履蹒跚。

Goods that once had floated to market along the Mississippi — and through the port of New Orleans — now increasingly went by rail, and anxious businessmen had pressed for large-scale civic improvements in hope of making their city more hospitable to commerce.

曾经沿着密西西比河并通过新奥尔良港运往市场的货物现在越来越多地通过铁路运输，焦虑的商人敦促进行大规模的市政改善，希望使他们的城市更加适合商业。

For much of its history, New Orleans had suffered a reputation as the most unsanitary city in the country.

在其历史的大部分时间里，新奥尔良一直被誉为美国最不卫生的城市。

As late as the turn of the century, when the population had topped a quarter million, there still had been no comprehensive sewage system.

直到世纪之交，当人口超过25万时，仍然没有完善的污水处理系统。

Drinking water had come mainly from mosquito-infested cisterns, or else directly from the murky river, which also served as the dumping ground for most of the city's waste.

饮用水主要来自蚊子出没的水箱，或者直接来自浑浊的河流，这条河也是城市大部分废物的倾倒场。

And then, there was the so-called back swamp, the cypress wetlands that stood between the natural levee and the shore of Lake Pontchartrain.

然后，还有所谓的后沼泽，即位于天然堤坝和庞恰特雷恩湖岸之间的柏树湿地。

Peirce Lewis, Geographer : It was known as the quarter of the damned.

地理学家皮尔斯·刘易斯：它被称为“该死的四分之一”。

Because the consistency of the back swamp is something between oh, let's say over cooked pea soup and warm Jell-O.

因为后面沼泽的稠度介于煮过头的豌豆汤和热果冻之间。

And in that climate, it's mosquito ridden.

在那种气候下，蚊子猖獗。

There were yellow fever epidemics periodically but they could do something in New Orleans, thanks to the Wood pumps, that they had never done before and that was to pump out the water in the back swamp.

黄热病疫情时有发生，但多亏了伍德水泵，他们可以在新奥尔良做一些他们以前从未做过的事情，那就是抽出后面沼泽地里的水。

Narrator : By 1914, the city's new drainage system consisted of seven pumping stations and seventy miles of canals, and the back swamp was all but dry.

旁白：到 1914 年，该市的新排水系统由七个泵站和七十英里的运河组成，后面的沼泽几乎干涸。

The impact was revolutionary.

其影响是革命性的。

Average life expectancy, which in 1880 had been fewer than 46 years, soared.

1880 年，平均预期寿命还不到 46 岁，但现在却大幅增长。

And for the first time in its history, New Orleans was freed from the natural levee.

新奥尔良历史上第一次摆脱了天然堤坝的束缚。

As then Mayor Martin Behrman put it: "Land, before worthless, became at once available for agriculture and city development." Older neighborhoods soon stretched north toward the lake, and brand new neighborhoods sprang up along its shores — the most desirable of them reserved exclusively for whites.

正如当时的市长马丁·贝尔曼所说：“以前一文不值的土地现在可以用于农业和城市发展。”老旧的社区很快就向北延伸至湖边，全新的社区沿着湖岸拔地而起——其中最令人向往的社区专为白人保留。

Meanwhile, artificial levees were raised, new shipping canals built, the port modernized.

与此同时，人工堤坝被加高，新的运河被修建，港口也实现了现代化。

By 1920, construction in the newly-drained areas had more than doubled the city's property tax assessments and business was once again booming.

到 1920 年，新排水地区的建设使该市的财产税增加了一倍多，商业再次蓬勃发展。

Lawrence N.

劳伦斯·N.

Powell, Historian : This was a time in a lot of these cities- you know New York City, and Philadelphia, and Baltimore are upgrading their infrastructure in major ways.

鲍威尔，历史学家：这是许多城市的一个时期——你知道纽约市、费城和巴尔的摩正在大力升级他们的基础设施。

And New Orleans was part of that.

新奥尔良就是其中的一部分。

It was one of these great kind of civil engineering, almost promethean civil engineering projects.

这是伟大的土木工程之一，几乎是普罗米修斯式的土木工程项目。

And we really were on the forefront of that.

我们确实处于这方面的最前沿。

Narrator : Now, on Good Friday 1927, all that would be jeopardized by a bolt of lightning that knocked out the central power station and cut off electricity to the Wood pumps.

旁白：现在，在 1927 年的耶稣受难日，一道闪电摧毁了中央发电站并切断了伍德泵的电力，这一切都将受到威胁。

By the time James Butler woke that morning, New Orleans had already begun to fill with water.

那天早上，当詹姆斯·巴特勒醒来时，新奥尔良已经开始注水。

At sundown, more than four feet stood in the city's streets.

日落时分，城市的街道上矗立着四英尺多的人。

Ari Kelman, Historian : The interesting thing about that Good Friday flood is that there's a huge river flood slowly bearing down on the city; one of the biggest floods in the nation's history.

历史学家 Ari Kelman：关于耶稣受难日洪水的有趣之处在于，巨大的河流洪水慢慢地袭击了这座城市；美国历史上最严重的洪水之一。

The 1927 flood is, is moving slowly and inexorably toward New Orleans and so when the city fills with water, it has nothing to do with the Mississippi River at all, it's just a big rainstorm.

1927 年的洪水正在缓慢而无情地向新奥尔良移动，所以当这座城市被水淹没时，这与密西西比河根本没有任何关系，这只是一场大暴雨。

But the national press corps is in New Orleans already, because it's covering this huge river flood and their photographers just take pictures of a flooded city.

但国家记者团已经在新奥尔良，因为它正在报道这场巨大的河流洪水，而他们的摄影师只是拍摄被洪水淹没的城市的照片。

And they juxtaposed those images with stories of this horrendous river flood and so it fuels panic.

他们将这些图像与这场可怕的河流洪水的故事放在一起，因此加剧了恐慌。

Narrator : Although the Mississippi posed no immediate threat to New Orleans, the mere prospect of a river flood had sent the city into a tailspin.

旁白：虽然密西西比河并没有对新奥尔良构成直接威胁，但仅仅河流泛滥的可能性就让这座城市陷入了混乱。

Local wholesalers already had slashed their prices in a desperate effort to unload inventories.

当地批发商已经大幅降价，拼命清理库存。

Anxious residents, meanwhile, were building boats, withdrawing huge sums from the banks, scrambling to get out of town.

与此同时，焦急的居民正在建造船只，从银行提取巨额资金，争先恐后地离开城镇。

The storm and the pump failure had served only to ratchet up the hysteria — and now, the city's investors were getting jumpy.

暴风雨和水泵故障只会加剧人们的歇斯底里——而现在，该市的投资者变得神经兮兮。

By the close of business on Good Friday, most of the bankers in town, including Butler, had received urgent wires from New York and elsewhere demanding assurances as to the city's safety.

到耶稣受难日收盘时，城里的大多数银行家，包括巴特勒，都收到了来自纽约和其他地方的紧急电报，要求保证该市的安全。

Ari Kelman, Historian : So they decide that they've got to do something drastic.

Ari Kelman，历史学家：所以他们决定必须做一些激烈的事情。

They've got to demonstrate to investors that their money is safe.

他们必须向投资者证明他们的资金是安全的。

They've got to demonstrate to themselves, to the city of New Orleans that they are safe, that they're not going to be washed away in this river flood that's moving toward them.

他们必须向自己、向新奥尔良市证明他们是安全的，他们不会在这场向他们涌来的洪水中被冲走。

So they decide to blow up the levee below the city.

因此他们决定炸毁城市下方的堤坝。

John Barry, Writer : Dynamiting the levee would allow the river water to escape like pulling a plug out of a bathtub.

约翰·巴里（John Barry），作家：炸毁堤坝会让河水逸出，就像拔掉浴缸的塞子一样。

The Corps of Engineers violently opposed the move.

工程兵团强烈反对这一举动。

They understood how weak the entire flood control system was and that that system was going to break hundreds of miles above New Orleans.

他们了解整个防洪系统是多么薄弱，并且该系统将在新奥尔良上空数百英里处溃决。

So that water was going to spread out over its natural flood plain and never get to the city.

因此，水将在其天然洪泛平原上扩散，永远不会到达城市。

But Butler and the rest of the people in his group were determined they were going to dynamite the levee and they were going to use their political power to make it happen.

但巴特勒和他的团队中的其他人决心炸毁堤坝，并利用他们的政治权力来实现这一目标。

Narrator : They chose a site beyond the city limits, thirteen miles downriver from Canal Street, at a place called Poydras.

旁白：他们选择了一个位于城市边界之外的地点，距离运河街下游十三英里，一个叫波伊德拉斯的地方。

Dynamiting the levee there would inundate all of St. Bernard Parish and part of Plaquemines Parish — an area of interlocking wetlands that was home to some 12,000 people, most of them just barely scraping by as fur trappers or fisherman.

炸毁那里的堤坝将淹没整个圣伯纳德教区和普拉克明教区的部分地区——这是一个环环相扣的湿地地区，居住着约 12,000 人，其中大多数人只是靠皮毛捕猎者或渔夫勉强度日。

All were now slated to be refugees.

现在所有人都将成为难民。

Within a week of the Good Friday Flood, Butler and his allies had organized themselves into the ad hoc Citizens Flood Relief Committee, and had manipulated the state's high-ranking elected officials into signing off on the plan to blow the Poydras levee.

耶稣受难日洪水发生一周内，巴特勒和他的盟友组织成立了特设公民洪水救援委员会，并操纵该州的高级民选官员签署了炸毁波德拉斯堤坝的计划。

Ari Kelman, Historian : They ask for the, the right to blow up the levee below the city, and they get it, because of who they are.

阿里·凯尔曼，历史学家：他们要求有权炸毁城市下方的堤坝，他们得到了它，因为他们是谁。

To say no to them is politically suicidal.

对他们说“不”在政治上无异于自杀。

Narrator : On Wednesday, April 27th, residents of the soon-to-be-flooded parishes evacuated their homes, amid promises that they would be compensated for their losses.

旁白：4 ​​月 27 日星期三，即将被洪水淹没的教区居民撤离了家园，并承诺将补偿他们的损失。

Butler, meanwhile, composed a wire destined for banks and investors all across the country.

与此同时，巴特勒写了一封电报，发往全国各地的银行和投资者。

"[D]ecision...

“[D]决定...

to cut levee...

切断堤坝...

has removed all danger to city," he wrote, "Business and all other activities are moving along in a normal manner.

消除了城市的所有危险，”他写道，“商业和所有其他活动都在正常进行。

New Orleans never has been flooded by Mississippi River and in our judgment never will be."

新奥尔良从未被密西西比河淹没，而且根据我们的判断，永远不会被淹没。”

Two days later, with spectators jamming the road that ran south to St. Bernard Parish and the families of St. Charles Avenue watching from their yachts in the river, the charges were set at Poydras.

两天后，观众们挤满了向南通往圣伯纳德教区的道路，圣查尔斯大街的家人在河中的游艇上观看，指控在波伊德拉斯发起。

Ari Kelman : They invite members of the press corps from throughout the United States and the world to go and view this.

阿里·凯尔曼：他们邀请美国和世界各地的记者团成员去看这个。

They do flyovers with military aircraft to make sure that the area is secure.

他们用军用飞机飞越以确保该地区的安全。

And then at a certain moment they lower the plunger and there's this massive explosion and then nothing happens.

然后在某个时刻，他们降低了柱塞，发生了巨大的爆炸，然后什么也没有发生。

It's a big dud.

这是一个大笨蛋。

It turns out that the levee is better constructed than anyone thought.

事实证明，堤坝的建造比任何人想象的都要好。

Narrator : It would take ten days and 39 tons of dynamite to finally breach the levee.

旁白：花了十天的时间和39吨炸药才最终决堤。

Before the job was finished, another levee upriver would give way, just as predicted.

正如预测的那样，在工程完成之前，上游的另一条堤坝就会塌陷。

Ari Kelman, Historian : There was never any real reason to blow up the levee and that's probably the most tragic element of the story.

阿里·凯尔曼（Ari Kelman），历史学家：炸堤从来没有任何真正的理由，这可能是故事中最悲惨的元素。

For St. Bernard and Plaquemines Parish and the people who live there it's a disaster.

对于圣伯纳德和普拉克明教区以及居住在那里的人们来说，这是一场灾难。

Makes them virtually uninhabitable for many, many months.

使它们在许多个月内几乎无法居住。

The Citizens Flood Relief Committee promise that they're going to give them reparations.

公民洪水救灾委员会承诺将为他们提供赔偿。

And they never make good on that promise.

他们从来没有兑现这个承诺。

John Barry, Writer : While these 12,000 refugees, created by the city of New Orleans were being housed in warehouses, Jim Butler and his colleagues decided that they would deduct the cost of feeding these people from any settlement that they gave them.

作家约翰·巴里：当新奥尔良市创建的这 12,000 名难民被安置在仓库中时，吉姆·巴特勒和他的同事决定，他们将从他们提供的任何安置点中扣除这些人的食物费用。

They simply stiffed the victims.

他们只是让受害者僵硬。

So what this flood did was wash away the surface and reveal what lay beneath.

所以这场洪水的作用是冲走表面并露出下面的东西。

And what lay beneath was some pretty ruthless people who would use power for what they regarded as the best interest of the city.

而其背后是一些相当无情的人，他们会利用权力来实现他们认为的城市的最佳利益。

John Scott, Artist : You have to be a strange kind of being to live in a place this dangerous by nature.

约翰·斯科特，艺术家：你必须是一种奇怪的人才能生活在一个本质上如此危险的地方。

I mean we live in a bowl, surrounded by water, on a flood plain.

我的意思是，我们生活在一个被水包围的碗状平原上。

You can't bury people below ground, because in the heavy rain caskets will pop up.

你不能把人埋在地下，因为在大雨中棺材会弹出。

We've lived with yellow fever mosquitoes, and we keep going.

我们曾与黄热病蚊子共处，但我们仍将继续前行。

Survival by improvisation.

靠即兴创作生存。

Krewe Member 1 : The original Mardi Gras beads were all made out of glass.

克鲁会员 1：最初的狂欢节珠子都是由玻璃制成的。

Krewe Member 2 : So we have here a destroyed house, and we're going to have, this is Rita and that's Katrina, in bed together.

克鲁成员 2：所以我们这里有一座被毁坏的房子，我们将会看到，这是丽塔，那是卡特里娜，一起躺在床上。

It's been an interesting project because myself, and of course many other people in fact do live in flooded houses.

这是一个有趣的项目，因为我自己，当然还有许多其他人实际上确实住在被洪水淹没的房子里。

And when we first came up with the idea I wasn't too keen on it.

当我们第一次提出这个想法时，我并不太热衷于它。

Interestingly as the month's gone on and we've kind of made jokes about destroyed houses and everything, it's actually had a healing process for many of us.

有趣的是，随着这个月的过去，我们对被毁坏的房屋和其他一切开玩笑，这实际上对我们许多人来说是一个治愈的过程。

Krewe Member 3 : The concept is that since we're having so much trouble getting the federal government to take care of responsibilities of building things back, maybe the French will do better.

克鲁议员 3：我们的想法是，既然我们很难让联邦政府承担起重建的责任，也许法国会做得更好。

So by ...

所以通过...

we're asking the French within the Louisiana Purchase to buy back Louisiana.

我们请求路易斯安那购买计划中的法国人回购路易斯安那。

Krewe Member 4 : Our theme this year is "there's no place like home." So we're going to drop a house on some really bad politicians.

Krewe会员4：我们今年的主题是“没有比家更好的地方了”。所以我们要对一些非常糟糕的政客下手。

Krewe Member 5 : I know there was controversy about whether we should have Mardi Gras or not, when we have to do this sort of stuff, you know, to reenergize ourselves.

Krewe 会员 5：我知道关于我们是否应该举办狂欢节存在争议，因为我们必须做这种事情，你知道，为自己重新注入活力。

Krewe Member 6 : Well, everybody's been making fun of the whole thing, because that's the only way you keep your sanity.

Krewe 会员 6：好吧，每个人都在取笑整件事，因为这是你保持理智的唯一方法。

We can't give this up, this is what we're made of.

我们不能放弃这一点，这就是我们的本质。

Ari Kelman, Historian : There's something to be said for the fact that when New Orleans faces adversity, when it's dealing with tragedy, when it's down on its luck, New Orleans' answer always is to pop the corks and have a good meal and then go dancing.

阿里·凯尔曼，历史学家：有一点值得一提的是，当新奥尔良面临逆境时，当它正在处理悲剧时，当它的运气不佳时，新奥尔良的答案总是是打开瓶塞，美餐一顿，然后去跳舞。

Tom Piazza, Writer : One of the main things that you learn from New Orleans is how to participate in life as it unfolds.

汤姆·皮亚扎（Tom Piazza），作家：你从新奥尔良学到的主要事情之一就是如何参与生活。

You learn to embrace the fact that you can't control everything in advance.

你学会接受这样一个事实：你无法提前控制一切。

We have just a little while to stay here, and if we are lucky enough to make it to the table again for one more meal, then that fact needs to be celebrated and fully experienced and lived to the hilt.

我们只有一点时间待在这里，如果我们足够幸运，能够再次到餐桌上再吃一顿饭，那么就需要庆祝这一事实，充分体验并充分享受这一事实。

Narrator : The American novelist Sherwood Anderson once declared New Orleans "the most civilized spot in America" — the one city in the country, he said, where there "[is] time for a play of the imagination over the facts of life."

旁白：美国小说家舍伍德·安德森曾宣称新奥尔良是“美国最文明的地方”——他说，这是美国唯一一个“有时间在现实生活中发挥想象力的城市”。

During the 1920's, that recommendation lured aspiring writers from all over the country — among them Hart Crane and Robert Penn Warren, Thornton Wilder, William Faulkner and Ezra Pound.

1920 年代，这一推荐吸引了来自全国各地有抱负的作家，其中包括哈特·克兰 (Hart Crane) 和罗伯特·佩恩·沃伦 (Robert Penn Warren)、桑顿·怀尔德 (Thornton Wilder)、威廉·福克纳 (William Faulkner) 和埃兹拉·庞德 (Ezra Pound)。

By the end of the decade, New Orleans had become the literary capital of the American South.

到本世纪末，新奥尔良已成为美国南部的文学之都。

Kenneth Holditch, Writer/Educator : Rent was cheap, food was very good and very inexpensive.

Kenneth Holditch，作家/教育家：房租很便宜，食物很好而且很便宜。

Liquor was very inexpensive and readily available, even though it was illegal everywhere in the country.

酒类非常便宜且容易获得，尽管它在全国各地都是非法的。

All of those elements I think combined, to create a place comfortable for the writer or the artist to be here and to be let alone.

我认为所有这些元素结合在一起，为作家或艺术家创造了一个舒适的地方，让他们可以在这里独处。

Lawrence N.

劳伦斯·N.

Powell, Historian : It's always been a special scene where you could...

鲍威尔，历史学家：这一直是一个特殊的场景，你可以......

find some space...

找一些空间...

where you could expatriate without having to go to Paris, for example.

例如，您无需前往巴黎即可移居国外。

And if you're marginal, if you know an exile from your own, own culture, this is a place I think where you can find some room to find ...

如果你是边缘人，如果你认识一个来自你自己的文化的流亡者，我认为这是一个你可以找到一些空间的地方......

to define who you are.

来定义你是谁。

Narrator : Now, late on the night of December 26th, 1938, a bus from Memphis deposited another young writer on the dark, narrow streets of New Orleans.

旁白：现在，1938 年 12 月 26 日深夜，一辆从孟菲斯出发的公共汽车将另一位年轻作家安置在新奥尔良黑暗狭窄的街道上。

Lugging a wind-up phonograph, a portable typewriter and a bound ledger he used as a journal, he made his way to a small hotel on St. Charles Avenue, and checked in for the night.

他拖着一台发条留声机、一台便携式打字机和一本用作日记的装订账本，前往圣查尔斯大道上的一家小旅馆，登记入住。

His name was Tom Williams — and he'd come to New Orleans the way the persecuted seek asylum.

他的名字叫汤姆·威廉姆斯，他以受迫害者寻求庇护的方式来到新奥尔良。

After months of living in his parents' home in St. Louis, and under the gaze of his disapproving father, Williams finally had had enough — and the morning after Christmas, he headed for New Orleans, "like a migratory bird," he later wrote, "going to a more congenial climate."

在圣路易斯父母家中生活了几个月，在父亲不赞成的注视下，威廉姆斯终于受够了——圣诞节后的第二天早上，他前往新奥尔良，“像一只候鸟，”他后来写道，“前往气候更适宜的地方。”

Less than forty-eight hours after he arrived, he confided to his journal: "Here surely is the place that I was made for if any place on this funny old world."

到达后不到四十八小时，他在日记中吐露道：“如果这个有趣的旧世界上有什么地方的话，这里肯定是我生来的地方。”

Rick Bragg, Writer : New Orleans offered homes to creative people and troubled people and people who didn't fit where they were so they came here to try to find some kind of acceptance and some kind of more than acceptance ...

里克·布拉格，作家：新奥尔良为有创造力的人、陷入困境的人和不适合自己所在位置的人提供了家园，所以他们来到这里试图找到某种接受和某种超越接受的...

happiness, you know.

幸福，你知道。

You can find acceptance, but New Orleans gave you acceptance and happiness.

你可以找到接受，但新奥尔良给了你接受和幸福。

It let you dance with people like you.

它让你可以和像你这样的人一起跳舞。

Narrator : Williams' first days in New Orleans were a revelation.

旁白：威廉姆斯来到新奥尔良的第一天是一个启示。

He was mesmerized by the architecture, by the light, by the "rattletrap streetcars" as he called them — one named Cemeteries, another Desire.

他被这里的建筑、灯光和他所说的“响尾蛇有轨电车”迷住了——其中一辆名为“墓地”，另一种名为“欲望”。

But it was in the Vieux Carré — or old French Quarter — that Williams found New Orleans its most alluring.

但威廉姆斯发现新奥尔良最有吸引力的地方是 Vieux Carré（即旧法国区）。

"This is the most fascinating place I've ever been," he wrote his mother.

“这是我去过的最迷人的地方，”他写信给他的母亲。

"I walk continually, there is so much to see.

“我一直在走，有很多东西要看。

...

...

The Quarter is really quainter than anything I have seen abroad, alive with antique and curio shops."

这个街区比我在国外见过的任何地方都更加古雅，充满了古董店和古玩店。”

Abandoned by white Creoles in the years after the Civil War, the Quarter since had been home mainly to Italian immigrants and poor blacks.

内战后的几年里，该区被白人克里奥尔人抛弃，此后主要是意大利移民和贫穷黑人的家园。

By the turn of the century, it had been widely considered a slum.

到了世纪之交，它已被广泛认为是贫民窟。

Then, in the 1920's, the literary crowd had arrived — and discovered in the neglect and decay a kind of romance, and a powerful source of inspiration.

然后，在 1920 年代，文学人群到来了，他们在忽视和衰败中发现了一种浪漫，以及强大的灵感源泉。

As Williams later put it, the French Quarter was "the last frontier of Bohemia.

正如威廉姆斯后来所说，法国区是“波西米亚的最后边境”。

...

...

a place in love with life."

一个热爱生活的地方。”

Rick Bragg, Writer : Williams found a home here.

里克·布拉格，编剧：威廉姆斯在这里找到了家。

Life is more naked here.

这里的生活更加赤裸裸。

You hear smoke stacks and you hear streetcars, faith and ghosts and, death are all parts of this quilt here and its just, you know that's why writers can't resist it.

你听到烟囱，你听到有轨电车，信仰和鬼魂，死亡都是这被子的一部分，它只是，你知道这就是作家无法抗拒它的原因。

It's just; it's never very far from you.

这只是;它永远不会离你很远。

Its hard to walk past life being lived here, you got to drop in on it.

住在这里很难走过去的生活，你必须顺便去看看。

John Scott, Artist : I think you go to a lot of cities, and people will dress up in the evening, to go to a cultural event.

约翰·斯科特，艺术家：我想你会去很多城市，人们会在晚上盛装打扮，去参加文化活动。

In New Orleans, you wake up in the morning, and you are in a cultural event.

在新奥尔良，你早上醒来，就会发现自己正在参加一场文化活动。

Kenneth Holditch, Writer/Educator : You know, there's an old saying in New Orleans that the typical New Orleans meal is sitting around eating fine food, talking about what you had to eat yesterday and what you're going to eat tomorrow.

肯尼思·霍尔迪奇，作家/教育家：您知道，新奥尔良有句老话，典型的新奥尔良餐就是围坐在一起吃美食，谈论昨天必须吃的东西以及明天要吃的东西。

And it's very tempting to just be constantly partying.

不断地参加聚会是非常诱人的。

And Williams was always fascinated by, by the people here and the sort of easygoing lifestyle.

威廉姆斯总是着迷于这里的人们和这种轻松的生活方式。

Narrator : Williams quickly settled into a routine.

旁白：威廉姆斯很快就养成了习惯。

In the mornings, he wrote — seated at a rickety old desk in his rented third-floor garret on Toulouse Street.

早上，他坐在图卢兹街租来的三楼阁楼里一张摇摇晃晃的旧桌子前写作。

Afternoons were spent with other artists who called the Quarter home, parked at a sidewalk table at the Café du Monde or Napoleon House — smoking cigarettes, debating politics, and watching the world go by.

下午，我们和其他以该区为家的艺术家一起度过了下午，他们把车停在世界咖啡馆或拿破仑之家的路边桌子旁，抽烟，辩论政治，看着世界过去。

At night, he headed for the infamous stretch of Exchange Alley, where men gathered in dimly lit barrooms to meet other men.

晚上，他前往臭名昭著的交易巷，那里的男人们聚集在灯光昏暗的酒吧里与其他男人见面。

Williams had had homosexual feelings before.

威廉姆斯以前也有过同性恋的感觉。

But his upbringing had been so austere that he had not even recognized them for what they were.

但他的成长经历是如此简朴，以至于他甚至没有认出他们的本来面目。

Now, for the first time, they could be openly acknowledged.

现在，他们第一次可以被公开承认。

"[The liberating effects of the city] gave me an inner security I didn't have before," he once said.

“[这座城市的解放效应]给了我一种以前没有的内心安全感，”他曾经说过。

"I was able to write better.

“我能够写得更好。

I began to write with maturity."

我开始成熟地写作。”

Kenneth Holditch, Writer/Educator : He, he realized that he could live the lifestyle that he wanted to live, that he had been suppressing without being noticed very much.

肯尼思·霍尔迪奇，作家/教育家：他，他意识到他可以过他想要的生活方式，他一直在压抑而不被注意到。

He said he found in New Orleans a freedom he had always needed and the shock of it against the Puritanism of his nature he said, gave him the material he'd be writing about for the rest of his life.

他说，他在新奥尔良找到了他一直需要的自由，而且这种自由对他本性的清教主义产生了冲击，他说，这给了他他将在余生书写的素材。

Narrator : About a month into his stay in New Orleans, Williams decided to enter a national drama contest, and submitted a collection of one-acts entitled American Blues .

旁白：威廉姆斯在新奥尔良逗留大约一个月后，决定参加全国戏剧比赛，并提交了一本名为《美国布鲁斯》的独幕剧集。

This piece he signed differently from all the others he had ever written — not as "Tom Williams," but as Tennessee Williams .

他在这篇文章中的署名与他写过的所有其他作品都不同——不是“汤姆·威廉姆斯”，而是田纳西·威廉姆斯。

In New Orleans, he had found not only his voice, but himself.

在新奥尔良，他不仅找到了自己的声音，还找到了自己。

Late in his life, Williams would insist that more than half of his best work had been written in New Orleans.

在晚年，威廉姆斯坚持认为他一半以上最好的作品是在新奥尔良写成的。

The city would provide the setting for six of his short stories, five short plays, and three full-length dramas, including the iconic A Streetcar Named Desire .

这座城市为他的六篇短篇小说、五部短剧和三部长篇戏剧提供了背景，其中包括标志性的《欲望号街车》。

Rick Bragg, Writer : His writer's eye caught the menace.

里克·布拉格，作家：他的作家的眼睛捕捉到了威胁。

Caught that glittering menace in New Orleans.

在新奥尔良发现了那种闪闪发光的威胁。

He saw every speck of dirt.

他看到了每一点污垢。

I think he saw every speck of broken glass.

我想他看到了每一块碎玻璃。

And I think he shook those things up, like he shook them up in a potion, and poured it out in his writing.

我认为他把这些东西摇匀了，就像他在魔药中摇匀了它们，然后在他的写作中倒出来一样。

Narrator : "New Orleans and the moon have always seemed to me to have an understanding between them," Williams later wrote, "An intimacy of sisters grown old together, no longer needing more than a speechless look to communicate their feelings to each other...

旁白：“在我看来，新奥尔良和月亮之间总是有默契，”威廉姆斯后来写道，“就像姐妹们一起变老的亲密关系，不再需要更多的无言的眼神来表达彼此的感情……

this lunar atmosphere of the city draws me back whenever ...

无论何时，这座城市的月球气氛都会吸引我……

a time of recession is called for...

经济衰退时期需要......

each time I have felt some rather profound psychic wound, a loss or a failure, I have returned to [New Orleans].

每当我感受到一些相当深刻的心灵创伤、损失或失败时，我就会回到[新奥尔良]。

At such periods I would seem to belong there and no place else in the country."

在这样的时期，我似乎属于那里，而不是这个国家的其他地方。”

Amzie : Oh yes, what's up man.

Amzie：哦，是的，怎么了，伙计。

When I first came to French Quarter, I went "Oh my God.

当我第一次来到法国区时，我感叹“天哪。

This is the best place I ever seen in my whole life." You and I want to be here right now, as long as I can be.

这是我一生中见过的最好的地方。”你和我现在就想呆在这里，只要我能呆多久。

It's like all the people who live around me are like musicians, and artists, and poets, painter, writers, and stuff.

就好像生活在我周围的所有人都是音乐家、艺术家、诗人、画家、作家等等。

So you walk around within this environment.

所以你在这个环境中走来走去。

I think of it as kind of like a kid.

我觉得它有点像一个孩子。

And you know like when you have a kid in a playpen, and they're in an enriched environment.

你知道，就像当你有一个孩子在婴儿围栏里时，他们生活在一个丰富的环境中。

They're always growing, always learning, always alive, and their IQ goes up, everything, their motor skills grow up.

他们总是在成长，总是在学习，总是充满活力，他们的智商上升，一切，他们的运动技能都在成长。

Here I think is just a big playpen.

我认为这里只是一个大围栏。

The Quarter was built by the people, by the French and Spanish, who understood architecture, and understood aesthetics, and understood beauty, and created a living environment for the people to be enriched in.

这个街区是由懂得建筑、懂美学、懂美的法国人和西班牙人建造的，为人们创造了一个富裕的生活环境。

And you can walk through the quarter at three in the morning on a January night and there's a full moon.

一月的夜晚，你可以在凌晨三点穿过这个季度，那时正值满月。

And in New Orleans you've got freaks that have been here for 300 years.

在新奥尔良，你可以看到已经在这里生活了 300 年的怪人。

So its like, it's okay to be here.

所以就好像，来这里没什么问题。

I always wonder, especially when I'm making a poster or a painting or something, I'm wondering what does someone who comes from somewhere else see when they first walk in here.

我总是想知道，尤其是当我制作海报或绘画或其他东西时，我想知道来自其他地方的人第一次走进这里时会看到什么。

Tourists ...

游客...

they come and they want to see what the real New Orleans is about.

他们来到这里，想看看真正的新奥尔良是什么样的。

The sad part is that they come to Bourbon Street, they stay in hotel.

可悲的是他们来到波旁街，住在酒店里。

They get drunk.

他们喝醉了。

They see some titty dancers, and then they go home and say "I don't what's the big deal about New Orleans is."

他们看到一些乳头舞者，然后回家后说：“我不知道新奥尔良有什么大不了的。”

You think of New Orleans as, you know, like a place longitude and latitude on a map, on the earth.

你知道，新奥尔良就像地球上地图上的经度和纬度的地方。

But in a sense, like, New Orleans to me is an address in the whole of the whole of the universe of existence.

但从某种意义上说，新奥尔良对我来说是整个存在宇宙的一个地址。

And if you match up with that address, if you're supposed to be here, then you'll feel it.

如果您与该地址匹配，如果您应该在这里，那么您就会感觉到。

You'll walk in here and you'll go "Whoa!"

当你走进这里时，你会发出“哇！”的声音。

Narrator : At mid-century, New Orleans had no native son more celebrated than the great jazz trumpeter Louis Armstrong.

旁白：本世纪中叶，新奥尔良本土没有比伟大的爵士小号手路易斯·阿姆斯特朗更出名的人了。

Since leaving his hometown in 1922, he had performed all over the United States, made two tours of Europe, played on scores of hit records and appeared in a half-dozen Hollywood films, including one called New Orleans .

自 1922 年离开家乡以来，他在美国各地演出，两次前往欧洲巡演，演奏了数十张热门唱片，并出演了六部好莱坞电影，其中包括一部名为《新奥尔良》的电影。

"No band musician today on any instrument ...

“今天没有乐队音乐家使用任何乐器......

can get through 32 bars without musically admitting a debt to Armstrong," said the drummer Gene Krupa.

鼓手吉恩·克鲁帕 (Gene Krupa) 表示：“我可以唱完 32 个小节，而不会在音乐上承认自己受过阿姆斯特朗的影响。”

"Louis did it all, and he did it first."

“路易斯做到了这一切，而且他首先做到了。”

Now, in late February 1949, the 48-year-old New Orleanian was headed home, to the city where both he and jazz had been born.

现在，1949 年 2 月下旬，这位 48 岁的新奥尔良人踏上了回家之路，回到了他和爵士乐诞生的城市。

The occasion was Mardi Gras.

那个场合是狂欢节。

New Orleans' premiere black Carnival krewe, the Zulu Social Aid and Pleasure Club, had invited Armstrong to reign as King in its annual parade — an event TIME magazine described as "a broad, dark satire on the expensive white goings-on in another part of town."

新奥尔良首屈一指的黑人嘉年华克鲁，即祖鲁社会援助和娱乐俱乐部，邀请阿姆斯特朗在其年度游行中担任国王——《时代》杂志将这一活动描述为“对城镇另一部分昂贵的白人活动的广泛而黑暗的讽刺”。

John Scott, Artist : Zulu was a parody.

约翰·斯科特，艺术家：祖鲁语是一种模仿。

It was black people making fun by imitating white people imitating European royalty.

这是黑人通过模仿白人模仿欧洲皇室来取笑。

So it was almost like a reverse minstrel show on the absurdity of Rex and Comas and those parades.

所以这几乎就像一场关于雷克斯和科马斯以及那些游行的荒谬的反向吟游诗人表演。

They just took it to the extreme.

他们只是把它发挥到了极致。

Lawrence N.

劳伦斯·N.

Powell, Historian : If Rex came in the river and Rex was wearing a crown and a scepter, well Zulu would come down on a barge in the New Basin Canal wearing a lard can and waving a banana stalk or something.

鲍威尔，历史学家：如果雷克斯来到河里，并且雷克斯戴着王冠和权杖，那么祖鲁人就会戴着猪油罐，挥舞着香蕉杆或其他东西，从新盆地运河的驳船上下来。

And they would wear black face, they were black people doing black face.

他们会戴黑脸，他们是做黑脸的黑人。

To poke fun and say, you know you may ...

开玩笑地说，你知道你可能......

making a lot of, a big to do about race, but here's what we think about it.

关于种族问题，我们做了很多、很大的事情，但我们对此的看法如下。

It was a time for them to, to vocalize dissent when dissent had been pretty much closed down.

当异议几乎被压制时，这是他们表达异议的时候了。

And I think that's probably one of the things, sort of unstated about, about Louis Armstrong, why he, you know he was anxious to, to be part of it.

我认为这可能是路易斯·阿姆斯特朗（Louis Armstrong）未明说的原因之一，为什么他，你知道他渴望成为其中的一部分。

Narrator : Armstrong had grown up with Zulu.

旁白：阿姆斯特朗和祖鲁人一起长大。

Most of the krewe's members were longshoremen from the Third Ward, the gritty district on the edge of the back swamp where Armstrong had lived as a boy.

克鲁的大多数成员都是来自第三区的码头工人，第三区是位于后沼泽边缘的砂砾区，阿姆斯特朗小时候就住在那里。

Like the rest of the kids in the neighborhood, he'd spent many a Mardi Gras trailing behind Zulu and its band, blowing on an old tin horn in the so-called second line — the boisterous swarm that spontaneously gathered around most every parade in New Orleans.

和附近的其他孩子一样，他在狂欢节度过了很多次，跟在祖鲁及其乐队后面，吹着旧锡喇叭，在所谓的第二线——新奥尔良几乎每次游行都会自发聚集的喧闹人群。

Interview : I know that you said in your interview with Time that you had one great ambition in life, and that was to be King Zulu, and after that, you could die.

采访：我知道你在接受《时代》杂志采访时说过，你一生有一个伟大的抱负，那就是成为祖鲁国王，在那之后，你就可以死了。

Is that right?

是这样吗？

Armstrong : Yes, that's right.

阿姆斯特朗：是的，没错。

OK, well I don't want the lord to take me literally, but it ...

好吧，我不想让主从字面上理解我，但它......

George Schmidt, Painter : My mother was a big Louis Armstrong fan.

画家乔治·施密特：我的母亲是路易斯·阿姆斯特朗的忠实粉丝。

That's all she played, was Louis Armstrong, you know?

这就是她演奏的全部内容，就是路易斯·阿姆斯特朗，你知道吗？

[SINGS] "Someday, you'll be sorry.

[歌唱]“总有一天，你会后悔的。

[HUMS] That it was wrong.

[哼哼]这是错误的。

[HUMS]" That's all we heard.

[嗡嗡声]”这就是我们所听到的。

I mean, it was like, you know ...

我的意思是，就像，你知道......

it was constant.

它是恒定的。

And one day, well, you see, we were on the parade route.

有一天，嗯，你看，我们在游行路线上。

And it was 1949.

那是 1949 年。

And, we were standing in the yard.

而且，我们站在院子里。

I am five years old.

我五岁了。

And this float goes past.

这个漂浮物就过去了。

And this man in — this man in Black face, with his big White lips, you know, and the crown comes past.

这个男人——这个黑脸的男人，有着白色的大嘴唇，你知道，王冠就过去了。

And my mother bent down.

我妈妈也弯下了腰。

She says, "George, that's Louis Armstrong." [LAUGHS]

她说：“乔治，那是路易斯·阿姆斯特朗。” [笑]

Narrator : Armstrong spent most of the day on Zulu's float, downing champagne and tossing hand-painted coconuts into the cheering crowds.

旁白：阿姆斯特朗一天的大部分时间都在祖鲁的花车上度过，一边喝着香槟，一边向欢呼的人群扔手绘的椰子。

"People from all over the world — his fans — had come to see him," one musician in his band recalled.

“来自世界各地的人们——他的粉丝——都来看他，”他乐队中的一位音乐家回忆道。

"I've never seen anything [so] beautiful in my life."

“我一生中从未见过如此美丽的事物。”

George Schmidt, Painter : The Zulu parade in those days, it just meandered all over town.

画家乔治·施密特（George Schmidt）：当时的祖鲁人游行，在整个城镇蜿蜒而行。

There was no route.

没有路线。

Although when Louis was the King, they brought it onto St. Charles Avenue, 'cause he was, he was so popular with people down here, Whites and Blacks.

尽管当路易斯还是国王时，他们把它带到了圣查尔斯大道，因为他很受这里的白人和黑人的欢迎。

Narrator : On Mardi Gras, New Orleans looked just as Armstrong remembered it: everyone mingling in the streets, people of every hue celebrating together in a spirit of mutual respect, if not perfect harmony.

旁白：狂欢节那天，新奥尔良的面貌与阿姆斯特朗记忆中的一模一样：每个人都在街上混在一起，各种肤色的人们本着相互尊重的精神（即使不是完美和谐）一起庆祝。

But on Ash Wednesday, the city returned to business as usual — and Armstrong could see just how much things had changed.

但在圣灰星期三，这座城市恢复了往常的生活——阿姆斯特朗可以看到事情发生了多大的变化。

Some 570,000 people now lived in New Orleans — half-again as many as when he'd left town.

现在大约有 570,000 人居住在新奥尔良——是他离开城镇时的一半。

What then had been cypress swamp now was mostly settled, the muck replaced by parks and golf courses, and California-style bungalows.

当时的柏树沼泽现在大部分已被定居，淤泥被公园、高尔夫球场和加州风格的平房所取代。

And though blacks and whites continued to live side by side in many parts of the city, as they always had, some neighborhoods, like Armstrong's own Third Ward, were fast becoming predominantly black — as many of the white residents moved to new neighborhoods nearer to the lake.

尽管黑人和白人继续像往常一样在城市的许多地方毗邻居住，但一些社区，比如阿姆斯特朗自己的第三区，很快就变成以黑人为主——因为许多白人居民搬到了靠近湖边的新社区。

Ari Kelman, Historian : The 1940s are a period in which you see radical cultural changes happening in New Orleans, as, as the old residential settlement patterns in the city disappear — the, the, the mixed housing patterns where rich and poor and black and white people are living right next-door to each other, that had so much to do with the city's culture and what made New Orleans New Orleans.

历史学家 Ari Kelman：在 20 世纪 40 年代，你会看到新奥尔良发生了彻底的文化变革，随着城市中旧的住宅区模式的消失，富人和穷人、黑人和白人毗邻而居的混合住房模式，这与城市文化以及新奥尔良之所以成为新奥尔良的原因有很大关系。

And you see a new New Orleans emerge.

你会看到一个新的新奥尔良出现了。

Narrator : Armstrong had come up in a time when Jim Crow was still novel enough to be flouted with some regularity — by both whites and blacks.

旁白：阿姆斯特朗出现的时代，吉姆·克劳法还很新颖，经常受到白人和黑人的蔑视。

Now, even in the neighborhoods that were still racially-mixed, segregation was a deeply-rooted feature of life in New Orleans — as pervasive and predictable as the humidity.

现在，即使在种族混杂的社区中，种族隔离也是新奥尔良生活的一个根深蒂固的特征——就像湿度一样普遍且可预测。

Raphael Cassimere, Jr., Historian : I could remember my mother riding to town, I guess you call it, going to Canal Street with one of our white neighbors.

小拉斐尔·卡西米尔 (Raphael Cassimere, Jr.)，历史学家：我记得我母亲骑着车去镇上（我猜你这么称呼它），和我们的一位白人邻居一起去运河街。

They would talk to each other at the bus stop, they would get on the bus, the neighbor would sit in front of the screen, my mother would sit behind the screen and they would talk.

他们会在公交车站互相交谈，他们会上公共汽车，邻居会坐在屏幕前，我妈妈会坐在屏幕后面，他们会说话。

Segregation had become so traditional I don't even know if they understood the contradictions.

种族隔离已经变得如此传统，我什至不知道他们是否理解其中的矛盾。

Lawrence N.

劳伦斯·N.

Powell, Historian : Louis Armstrong understood this wasn't really the natural order of things, growing up in New Orleans.

鲍威尔，历史学家：路易斯·阿姆斯特朗在新奥尔良长大，他知道这并不是事物的自然秩序。

The person who gave him money for his first instrument was a Russian Jew named Karnovsky on Rampart Street, which was the black Jewish shopping district.

给他钱买第一件乐器的人是一个名叫卡诺夫斯基的俄罗斯犹太人，他住在城墙街，那是黑人犹太购物区。

And I mean that kind of tells you something.

我的意思是，这可以告诉你一些事情。

And he used to play in an Italian bar.

他曾经在一家意大利酒吧演奏。

And so when he came back and saw this city trying to be arch-segregated, I think he was deeply offended.

因此，当他回来看到这座城市试图实行种族隔离时，我认为他被深深地冒犯了。

I think he felt this really went against what he thought the true New Orleans was.

我认为他觉得这确实违背了他所认为的真正的新奥尔良。

Narrator : Not even fame could spare Armstrong.

旁白：即使是名声也无法饶恕阿姆斯特朗。

He was celebrated enough to be given the key to the city — but he still had to stay in a Jim Crow hotel.

他受到了足够的庆祝，获得了这座城市的钥匙——但他仍然必须住在吉姆·克劳旅馆里。

John Scott, Artist : Having sat down with royalty and all the rest of these people and had his humanity respected.

约翰·斯科特，艺术家：与皇室成员和所有其他人坐下来，他的人性受到尊重。

Of course it was difficult to come back to a place where here it is you know you're on a first name basis with kings and some guy that owns a run down hotel is going to tell you go to the back door.

当然，要回到这样一个地方是很困难的，在这里你知道你和国王是直呼其名的，而某个拥有一家破旧酒店的人会告诉你去后门。

Louis Armstrong didn't have to tolerate that.

路易斯·阿姆斯特朗不必忍受这一点。

Narrator : Armstrong left New Orleans in disgust, vowing never to return.

旁白：阿姆斯特朗厌恶地离开了新奥尔良，发誓再也不会回来。

"Ain't it stupid," he would later say.

“这不是很愚蠢吗？”他后来说。

"Jazz was born there, and I remember when it wasn't no crime for cats of any color to get together and blow ...

“爵士乐诞生于那里，我记得那时任何颜色的猫聚在一起吹气都不是犯罪......

I don't care if I never see the city again.

我不在乎我是否再也见不到这座城市了。

Honestly, they treat me better all over the world than they do in my home town."

老实说，他们在世界各地对我比在我的家乡更好。”

John Scott, Artist : Unless you understand the so called lack of contradiction in contradictory things in New Orleans, it's going to be difficult for you to understand New Orleans.

约翰·斯科特，艺术家：除非你理解新奥尔良所谓的矛盾事物中没有矛盾，否则你将很难理解新奥尔良。

Explained in the simplest way is, if you have ever seen a second line in New Orleans, you could have a thousand people in the street.

用最简单的方式解释就是，如果你在新奥尔良见过第二条队伍，那么街上可能有一千个人。

Each one of those people are actually dancing, doing their own thing.

这些人中的每一个人实际上都在跳舞，做着自己的事情。

Absolute diversity.

绝对的多样性。

But every last one of them, are dancing to the exact same beat.

但他们中的每一个都在以完全相同的节奏跳舞。

Complete unity.

完全统一。

And it's harmonious.

而且很和谐。

And it exists.

它确实存在。

It's the only city in the world that I know of, where you can have total unity, and absolute diversity, existing simultaneously, without contradiction.

据我所知，这是世界上唯一一座可以同时存在完全统一和绝对多样性的城市，没有矛盾。

Narrator : The news cameras were already rolling by the time six-year-old Ruby Bridges arrived at William J.

旁白：当六岁的鲁比·布里奇斯到达威廉·J·布里奇斯学校时，新闻摄像机已经开始转动。

Frantz Elementary School, on the morning of November 14th, 1960.

弗朗茨小学，1960 年 11 月 14 日上午。

This was, after all, no ordinary school day — and Bridges was no ordinary first grader.

毕竟，这不是一个普通的学校日，布里奇斯也不是普通的一年级学生。

The instant she crossed the threshold, William J.

当她跨过门槛的那一刻，William J.

Frantz became the first integrated public school in New Orleans.

弗朗茨成为新奥尔良第一所综合公立学校。

Frantz Elementary was located in the Ninth Ward, a swampy, flood-prone district, downriver from the French Quarter.

弗朗茨小学位于第九区，这是一个沼泽、洪水多发的地区，位于法国区的下游。

Long considered undesirable by wealthy New Orleanians, the area had first been settled by poor blacks and immigrant laborers at the turn-of-the-century — and, like some of the older neighborhoods in the city, it remained racially-mixed.

长期以来，该地区一直被富裕的新奥尔良人视为不受欢迎的地方，在世纪之交首先由贫穷的黑人和移民劳工定居——并且像该市的一些较老的社区一样，这里仍然是种族混合的地区。

John Biguenet, Writer : Racism took a very particular form in New Orleans.

约翰·比格内特（John Biguenet），作家：种族主义在新奥尔良采取了一种非常特殊的形式。

On a personal level there may really have been a great deal of courtesy between whites and blacks but on the other hand, institutionally, in terms of the educational system, in terms of its wretched public housing, the effects of the institutionalized racism here were just as pernicious as they were anywhere else in the United States.

在个人层面上，白人和黑人之间确实存在很大的礼貌，但另一方面，在制度上，就教育体系而言，就其简陋的公共住房而言，这里制度化的种族主义的影响与美国其他任何地方一样有害。

Narrator : For more than sixty years – ever since the Supreme Court ruling in Plessy v.

旁白：六十多年来——自从最高法院在普莱西诉美国最高法院作出裁决以来。

Ferguson — most public schools in the United States had been strictly segregated.

弗格森——美国大多数公立学校都实行严格的隔离。

In New Orleans, as in the rest of the country, those designated for African-Americans often had been shamefully neglected.

在新奥尔良，和全国其他地方一样，那些指定给非裔美国人的人常常被可耻地忽视。

But the ones in the Ninth Ward had been among the city's worst — dilapidated, unheated and so overcrowded that school board officials had resorted to holding two half-day sessions in order to accommodate all the black students.

但第九区的学校是该市最差的学校之一——破旧不堪、没有暖气，而且过于拥挤，以至于学校董事会官员不得不举办两次半天的课程来容纳所有黑人学生。

Then, in 1955, the Supreme Court handed down its landmark decision in the case of Brown v.

随后，1955 年，最高法院在“布朗诉特朗普”一案中做出了具有里程碑意义的裁决。

Board of Education — declaring "separate but equal" unconstitutional and demanding the speedy desegregation of schools throughout the United States.

教育委员会——宣布“隔离但平等”违宪，并要求美国各地学校迅速废除种族隔离。

Raphael Cassimere, Jr., Historian : I was in class and the telephone rang and my teacher was always serious but when she got off the phone, she was smiling and we knew it was something important and she tried to explain to us what had happened.

Raphael Cassimere, Jr.，历史学家：我正在上课，电话响了，我的老师总是很严肃，但当她挂断电话时，她微笑着，我们知道这是一件很重要的事情，她试图向我们解释发生了什么。

Immediately I thought about the whites in my neighborhood.

我立刻想到了我家附近的白人。

I lived in the lower Ninth Ward at that time and I wondered whether or not we're going to be going to school together.

当时我住在下九区，我想知道我们是否要一起上学。

I mean, I didn't realize that it was really going to be the beginning of mass exodus of the whites out of the public school system.

我的意思是，我没有意识到这真的会成为白人大规模离开公立学校系统的开始。

Narrator : By the time little Ruby Bridges left Frantz Elementary at the end of her first day, a large crowd of angry whites had gathered outside, chanting racist slogans.

旁白：当小鲁比·布里奇斯第一天结束离开弗朗茨小学时，一大群愤怒的白人聚集在外面，高呼种族主义口号。

Over the days that followed, the crowd grew larger and ever more vicious.

接下来的几天，人群越来越多，也越来越恶毒。

Meanwhile, scores of white parents pulled their children out of school.

与此同时，许多白人家长让他们的孩子退学。

Interviewer : Did you just take your children out of school?

采访者：您刚刚带孩子离开学校吗？

Mother : Because they're not supposed to go with the negroes, that's why.

母亲：因为他们不应该和黑人一起走，这就是原因。

Mother : Why?

妈妈：为什么？

Because they wasn't brought up to go with them.

因为他们不是从小就和他们一起去的。

That's why.

这就是原因。

Interviewer : What are you going to do about an education for your children now?

采访者：您现在打算对孩子的教育做些什么？

Mother : I work and go bring them to a private school.

妈妈：我工作然后送他们去私立学校。

(cheers)

（欢呼）

Narrator : For whites opposed to integration, the options were few.

旁白：对于反对融合的白人来说，选择很少。

They could send their children to expensive parochial or private schools, as many wealthy New Orleanians already did.

他们可以把孩子送到昂贵的教会学校或私立学校，就像许多富有的新奥尔良人已经做的那样。

Or they could join the migration out to the suburbs — which by now was well under way.

或者他们也可以加入到郊区的移民行列——目前这一切已经顺利进行。

Like their peers in Chicago and Detroit and Los Angeles, middle-class New Orleanians had been leaving the city in droves since the mid-1940's, following the direction of newly-completed highways and causeways into the surrounding parishes.

与芝加哥、底特律和洛杉矶的同龄人一样，新奥尔良中产阶级自 20 世纪 40 年代中期以来就成群结队地离开这座城市，沿着新竣工的高速公路和堤道进入周围的教区。

Now, desegregation would fuel that trend — and many Ninth Ward whites would head east to St. Bernard Parish, where they would find all-white neighborhoods and all-white schools.

现在，废除种族隔离将推动这一趋势——许多第九区的白人将向东前往圣伯纳德教区，在那里他们会发现全白人的社区和全白人的学校。

Kalamu ya Salaamu, Writer : For survival's sake we've had to live together.

Kalamu ya Salaamu，作家：为了生存，我们不得不住在一起。

Right.

对。

Together in the sense of next to each other, and if not accepting, at least tolerating each other.

在一起意味着彼此相邻，即使不能接受，至少也能互相容忍。

Come the 50's, the development of the expressways they find a way to live and not be together.

到了50年代，随着高速公路的发展，他们找到了一种生活方式，而不是在一起。

And if you're not living next to each other you don't have to get along.

如果你们不住在一起，你们就不必和睦相处。

John Biguenet, Writer : New Orleans schools of course suffered enormously as whites fled, and the tax base with them.

约翰·比盖内特（John Biguenet），作家：随着白人的逃离，新奥尔良的学校当然遭受了巨大的损失，税基也随之而来。

And the schools became predominantly black.

学校里的学生主要是黑人。

So integration isn't really an accurate term for what happened, it was simply a different kind of segregation that took its place.

因此，整合并不是所发生事件的准确术语，它只是取代了它的一种不同类型的隔离。

Narrator : Over the next several decades, urban blight struck New Orleans with a vengeance.

旁白：在接下来的几十年里，城市枯萎袭击了新奥尔良。

As huge numbers of middle-class residents fled, the city increasingly fell victim to violent crime and corruption, its infrastructure crumbling beneath the weight of perpetual neglect, its decline further speeding the exodus.

随着大量中产阶级居民逃离，这座城市日益成为暴力犯罪和腐败的受害者，其基础设施在长期忽视的重压下摇摇欲坠，其衰落进一步加速了外流。

Between 1960 and 2000, more than a hundred-thousand New Orleanians — including some middle-class blacks and nearly two-thirds of the white population — decamped to the suburbs.

1960 年至 2000 年间，超过 10 万新奥尔良人——包括一些中产阶级黑人和近三分之二的白人——逃往郊区。

George Schmidt, Painter : With suburbanization What we lost, was the consensus.

画家乔治·施密特：随着郊区化，我们失去的是共识。

You know, you had segregation.

你知道，你有种族隔离。

But we all shared the same cultural basis.

但我们都有相同的文化基础。

Everybody ate the same food.

每个人都吃同样的食物。

Everybody celebrated the same celebrations.

每个人都庆祝同样的庆祝活动。

They shared in the same experience.

他们有同样的经历。

John Biguenet : We had a culture that had been living shoulder to shoulder, pressed against the, the Mississippi River and we wound up with an isolation between families that didn't exist in the city.

约翰·比盖内特：我们有一种文化，在密西西比河上并肩生活，最终我们的家庭之间出现了这种城市中不存在的孤立。

There was a rupture between a continuous life that had been lived for hundreds of years in this particular place and the way it flowed out into surrounding parishes.

在这个特定的地方已经存在了数百年的连续生活与它流入周围教区的方式之间存在着断裂。

Narrator : By the beginning of the 21st century, 67 percent of the city's nearly half-million people were black — and 28 percent of them were living below the poverty line.

旁白：到21世纪初，该市近50万人口中67%是黑人，其中28%生活在贫困线以下。

Then, at the tail end of the summer 2005, came the storm that would change everything.

然后，2005 年夏末，一场改变一切的风暴袭来。

Reporter 1 : The devastation that were seeing as we make our way towards the downtown New Orleans area is absolutely astonishing.

记者 1：当我们前往新奥尔良市中心地区时，所看到的破坏绝对令人震惊。

Completely underwater, the entire residential area ...

整个住宅区完全淹没在水下......

Reporter 2 : I am looking over a scene of utter devastation.

记者2：我看到的是一片被彻底摧毁的景象。

An entire neighborhood and the water has come up to the eves of the houses, and I am told this is not the worst of it.

整个街区和水已经漫到了房屋的前檐，有人告诉我这还不是最糟糕的。

Mayor : The city of New Orleans is in a state of devastation.

市长：新奥尔良市正处于满目疮痍的状态。

We probably have 80 percent of our city underwater.

我们城市的 80% 可能都在水下。

Reporter 4 : It is just unbelievable.

记者4：这简直令人难以置信。

I told you earlier today I didn't think this had turned out to be Armageddon.

我今天早些时候告诉过你，我不认为这会是世界末日。

I was wrong.

我错了。

Ari Kelman, Historian : In the immediate aftermath of Katrina some of the sadness and outrage I think was a byproduct of the fact that people throughout this country were seeing images of poverty and racism every night on their TV screens.

历史学家阿里·凯尔曼：卡特里娜飓风过后，我认为一些悲伤和愤怒是这个国家的人们每天晚上在电视屏幕上看到贫困和种族主义的画面这一事实的副产品。

Americans had to confront the fact that there is an African American underclass in this country that lives in harm's way.

美国人必须面对这样一个事实：这个国家有一个非裔美国下层阶级生活在危险之中。

And that was very, very unsettling.

这非常非常令人不安。

John Biguenet, Writer : People who were here took their own boats and went out and rescued people, neighbors from rooftops, they shared what little food and water they had, while we waited for the federal government to arrive.

约翰·比盖内特（John Biguenet），作家：这里的人们带着自己的船出去救人，从屋顶上救邻居，他们分享了他们仅有的少量食物和水，而我们则等待联邦政府到来。

The federal government took five days.

联邦政府花了五天时间。

In the meantime, it was New Orleans that saved itself.

与此同时，新奥尔良拯救了自己。

John Scott, Artist : We are the glue that keeps that city together.

约翰·斯科特，艺术家：我们是将这座城市凝聚在一起的粘合剂。

It's the love of the place.

这是对这个地方的爱。

And maybe it's even a love/hate relationship between the people themselves that keeps that thing together, you know?

也许甚至是人们之间的爱/恨关系使这一切保持在一起，你知道吗？

Because there is polarization in New Orleans.

因为新奥尔良存在两极分化。

That would be remiss if I said otherwise.

如果我不这样说那就是失职了。

But at the same time, you know, there are events and things there that bring people together, unlike anywhere else.

但与此同时，你知道，那里的事件和事物将人们聚集在一起，这与其他地方不同。

Tom Piazza, Writer : With all its problems, with all the corruption, with all the racism, with all the crime, with all the poverty New Orleans has kept its culture alive and kept its history alive with all these different elements that have come together, and have marinated together for hundreds of years.

汤姆·皮亚扎（Tom Piazza），作家：尽管有所有的问题，所有的腐败，所有的种族主义，所有的犯罪，所有的贫困，新奥尔良仍然保持着它的文化的活力，并通过所有这些聚集在一起并腌制了数百年的不同元素保持了它的历史。

There is culture here that is very precious, beautiful, and unduplicatable.

这里的文化非常珍贵、美丽、不可复制。

Lawrence N.

劳伦斯·N.

Powell, Historian : I'm not sure that, that we could understand American race relations today without reference to New Orleans.

鲍威尔，历史学家：我不确定，如果不参考新奥尔良，我们是否能够理解今天的美国种族关系。

I'm not sure American culture would look the same.

我不确定美国文化是否会是一样的。

It's one of these cities, had you removed it from the national equation, I'm not sure America would be the same.

它是这些城市之一，如果你把它从国家方程式中删除，我不确定美国是否会是一样的。

And I don't think you can say that for many other places in the United States.

我认为你不能对美国的许多其他地方这么说。

James Gill, Journalist : America needs New Orleans because it needs a place with a soul that you don't find elsewhere.

詹姆斯·吉尔，记者：美国需要新奥尔良，因为它需要一个在其他地方找不到的有灵魂的地方。

This is a place where there is invention and, and innovation.

这是一个充满发明和创新的地方。

America feeds off that, even if people aren't necessarily aware of it.

美国以此为生，即使人们不一定意识到这一点。

John Biguenet, Writer : We made music that came up out of the neighborhoods rather than being taught in conservatories.

John Biguenet，作家：我们创作的音乐来自社区，而不是在音乐学院教授。

We took recipes that our grandparents had taught us and turned it into one of the great cuisines on Earth.

我们采用了祖父母教给我们的食谱，并将其变成了地球上最美味的菜肴之一。

So this was a place that allowed what was here to flower, rather than trying to turn it into something else.

所以这是一个让这里的东西绽放的地方，而不是试图把它变成别的东西。

There are very few places that have made that choice.

很少有地方做出这样的选择。

John Scott, Artist : The promise of that city is the lesson that can be learned from that city.

约翰·斯科特，艺术家：那个城市的承诺是可以从那个城市学到的教训。

At its best, when the people are doing what they do naturally--blending a seamless culture it has a oneness about it that very few places in the rest of this country has.

在最好的情况下，当人们做他们自然而然的事情时——融合一种无缝的文化，它就会有一种统一性，这是这个国家其他地方很少有的地方。

New Orleans' promise is we can teach America how to be America.

新奥尔良的承诺是我们可以教美国如何成为美国。

If anybody's listening.

如果有人在听的话。

"New Orleans was the birthplace of jazz," George Buck asserts.

“新奥尔良是爵士乐的诞生地，”乔治·巴克断言。

We asked several scholars to reflect on the meaning of race in the Zulu parade.

我们请几位学者思考祖鲁游行中种族的意义。

The quintessential New Orleans bowl of gumbo is a history lesson on the mixed cultures of southern Louisiana.

典型的新奥尔良浓汤是路易斯安那州南部混合文化的历史课。

Reconstruction after the Civil War promised black citizens of the United States equal rights under the law and opportunities unheard of during the slavery era.

内战后的重建承诺美国黑人公民享有法律规定的平等权利和奴隶制时代闻所未闻的机会。

A group of powerful white New Orleans' residents would fight the changes and win.

一群有权势的新奥尔良白人居民将反抗变革并取得胜利。

As the head of Canal Bank, the largest bank in the South, and a member of the New Orleans Board of Liquidation of the City, James Pierce Butler was one of the most powerful men in New Orleans during the 1920s.

作为南方最大银行运河银行的行长和新奥尔良市清算委员会的成员，詹姆斯·皮尔斯·巴特勒是 1920 年代新奥尔良最有权势的人物之一。

The city has produced some of the world's great jazz musicians, none more celebrated than Louis "Satchmo" Armstrong.

这座城市诞生了一些世界上伟大的爵士音乐家，其中最著名的莫过于路易斯·“萨奇莫”·阿姆斯特朗。

In 1718, Jean-Baptiste Le Moyne, Sieur de Bienville, founded New Orleans in a location nearly surrounded by water and largely below sea level.

1718 年，Jean-Baptiste Le Moyne, Sieur de Bienville 在一个几乎四面环水、大部分低于海平面的地方建立了新奥尔良。

When the Louisiana legislature passed the Separate Car Act in 1890, mandating the racial segregation of railroad passengers, a group of black activists set out to challenge the law.

1890 年，路易斯安那州立法机构通过了《分车法》，强制铁路乘客实行种族隔离，一群黑人活动人士开始挑战这项法律。

On November 14, 1960, a 6-year-old girl walked into William J.

1960年11月14日，一名6岁的女孩走进William J.

Frantz Elementary School in New Orleans.

新奥尔良弗朗茨小学。

That seemingly mundane moment would shake the community and change the city forever.

这个看似平凡的时刻将震撼整个社区并永远改变这座城市。

It was the storm long feared in a city situated on the vulnerable Gulf Coast, with many areas built below sea level.

这座位于脆弱的墨西哥湾沿岸的城市长期以来一直担心这场风暴，该城市的许多地区都建在海平面以下。

A timeline looking through the history of New Orleans' past.

回顾新奥尔良过去历史的时间表。

Justin Lundgren, a resident of New Orleans for the past ten years, found inspiration for his photography in his adopted city and its festivities.

贾斯汀·伦德格伦 (Justin Lundgren) 过去十年一直居住在新奥尔良，他在移居的城市及其庆祝活动中找到了摄影灵感。