New Orleans is, of course, more than Mardi Gras; but whenever anyone mentions New Orleans, most people’s minds immediately go there.
It is probably the most famous thing about New Orleans, no matter how hard we try to convince outsiders that there’s more to the city that our annual bacchanal…Mardi Gras is always the default; so much so that the entire season is collectively (and incorrectly) called Mardi Gras; Mardi Gras is merely Fat Tuesday (mardi gras literally translates into fat Tuesday) and the rest of the season is Carnival. No matter how often you try to correct people, it never takes and so I’ve gotten to the point where I no longer correct people. It is what it is.
Likewise, people think of Carnival as a debauched event, and there is some truth to that–women do show their breasts for beads, and I’ve seen guys drop trou as well. However, I can also honestly say I’ve never seen that happen on the actual parade route on St. Charles Avenue; perhaps that happens down on Canal Street during parades, but it doesn’t happen in Uptown. I’ve only witnessed it happen in the Quarter–people on Bourbon Street displaying the required flesh for people up on balconies with a seemingly endless supply of beads, demanding boobs or butts or balls in exchange for a strand of beads. I’ve personally never dropped trou for beads–never will; why on earth would you when they are thrown with such reckless abandon from floats during the parades?
Like most New Orleanians, I had some vague knowledge of the history of Carnival in New Orleans; I knew that the theme song “If Ever I Cease to Love” came about because of a visit from a member of the Russian Romanov royal family in 1872; the Carnival colors of purple, green and gold were also in his honor. I knew that Comus, Momus, Proteus and Rex were the original krewes that paraded; that the flambeaux carriers originally were necessary to light up the parades in the darkness of the night; I also knew that the members of those original krewes–that still exist today, even if some of them no longer parade–were made of the city’s ruling class elites, and the krewes were offshoots of the exclusive Gentlemen’s Clubs in the city–the Boston Club, the Pickwick Club, etc.–that also still exist today.
But I didn’t know a lot about the history; I didn’t know much beyond what I would read in the annual Arthur Hardy’s Parade Guide, which I buy religiously every year. It’s easier, of course, now; there are parade apps that track the parades so you know where they are; whereas before you just had to stand on the route and wait, or (if you are lucky enough, like we are, to live close to the parade rout) listen for a marching band before heading down to the Avenue.
So I decided recently, since I’m reading a lot of New Orleans history, to read James Gill’s Lords of Misrule: Mardi Gras and the Politics of Race in New Orleans.
The white men in jackets and ties were obviously out of their element. Normally, at this time of day, they would be preparing to leave home or office for a couple of drinks, lunch, and maybe a card game at their clubs. Now, on December 19, 1991, they shifted in their seats, returning hostile glances from a large contingent of black men and women in the packed basement of New Orleans City Hall. The city council was meeting in spartan surroundings while its regular chambers were being renovated, but the physical discomforts were nothing compared to the general psychic unease as everyone waited for the great debate on an ordinance to desegregate Mardi Gras parades and gentlemen’s luncheon clubs.
New Orleans is a Southern city, with all that entails and perhaps even more. There were slaves here before the Louisiana Purchase; both the French and the Spanish brought slaves to New Orleans and Louisiana. New Orleans didn’t hold out long as a Confederate city; it surrendered to the Federal navy fairly early in the war, and with that surrender, the Union plan to control the Mississippi was one step closer to fruition. Racism, Jim Crow, and all the horrible white supremacy that comes with those things were evident here; the Plessy v. Ferguson Supreme Court decision that established the horrific doctrine of “separate but equal” was a case that originated in New Orleans, and had to do with segregated railroad cars. Several years ago Mayor Mitch Landrieu and the city council finally agreed to remove the Confederate statues and other memorials commemorating the city’s racist past; General Lee no longer stands with his back to the North on his plinth in Lee Circle; the statue of General Beauregard outside the entrance to the New Orleans Museum of Art was removed, and the statue of Jefferson Davis on the neutral ground along Jefferson Davis Parkway was also taken down. Perhaps the most egregious memorial–the Battle of Liberty Place memorial–was also removed in the dead of night.
New Orleanians like to pretend that New Orleans doesn’t have that same vein of racism and white supremacy the rest of the South does; but it’s definitely there. It might have more a genteel veneer over it, but it’s definitely there. Orleans Parish is probably the most progressive parish in the entire state–but that’s also an incredibly low bar to set. The vast majority of people I know were in favor of the removal of the memorials, and whenever it came up on a local news website, the comments against the removal were almost inevitably from non-New Orleanians, and usually ginned up the standard Louisiana complaints about New Orleans: out of control crime, poverty, crumbling infrastructure. But all of those things were also true when the city was segregated and operating under Jim Crow; anyone who reads New Orleans history knows that the city was always a hotbed of crime and sin and debauchery.
Lords of Misrule opens with the attempt by the city council in 1992 to desegregate the krewes; my first-ever attendance at Carnival was a mere three years later, and people were still talking about it. The result was three old-line krewes (Comus, Momus, and Proteus) decided to stop parading rather than desegregate (there is a krewe now parading under the name of Proteus again; I don’t know if it is actually the same, original Krewe of Proteus or a newer krewe who took the name). Opponents of the ordinance claimed it would kill Carnival, which is now one of the primary economic engines of the city; nearly thirty years later we can attest that didn’t happen. Modern Carnival attendees don’t now about those krewes and they aren’t missed. But Gill uses this battle at the city council as a jumping-off place to examine the history of the racial politics in the city, and throughout, he uses Carnival–and how racist events in the city, such as the Battle of Liberty Place–to illustrate and illuminate that history.
It’s an enjoyable read, a little eye-opening in places, but a good read, and he also does an excellent job of exploring how Comus was not only Confederate, but later, if not directly tied to, then definitely sympathetic to the Klan and the cause of white supremacy. Some of these civic leaders who would be, or had been, King of Comus or King of Rex also were leaders of the rebellion, the Klan, and so forth.
And it isn’t until the final chapters that any bias on the part of Gill becomes even remotely obvious; I got the distinct impression in the final chapters that Gill opposed the desegregation of the krewes–but he never comes out and says that; the final chapters simply read that way to me. I could be wrong.
But I do recommend it. It’s a good, interesting read, and sheds some important light on forgotten parts of New Orleans history.
Queer and Loathing in America 