First, there was the comment from sussah on Kyklops, in which she said,
I even think that the Cafe Brasil is pretty. ... A friend of mine calls this the romanticizing of urban decay, but I'm seeing beauty everywhere. ... [In] a strictly visual sense, New Orleans is constantly changing, especially these days as its being rebuilt.Then Claudia from Brazil remarked on a photograph of a colored tin sculpture:
Man, you people are so creative! The very idea of doing art with Katrina's Junk is awesome!This odd, "awesome" thing I'm thinking about today is the explosion of colors and shapes that have appeared on the facades and sides of buildings, in the streets and on the sidewalks, on telephone poles and window panes. The outlaws of the city have laid out a feast for the voracious visual gourmet. It is as if a great number of people who will never have a name remembered by history are proclaiming, "I was here. See what I have left as I passed by."
In the early days following the storm, people began to waken to Banksy murals appearing on the sides of buildings in their neighborhoods. Only a few of these paintings remain today, the rest having been obliterated under the bland primer wielded by our Gray Ghost. Although initially protected by the NOPD, the Ghost met his match in Michael Dingler, aka, NOLA Rex, who ultimately beat the rampaging, self-deluded savior of the city in the New Orleans courts.
Since then, it seems the sun has shone brighter than it did before the summer of 2005.
Oh, there was the initial movement to draw advantages from the storm in order to rebuild the city in the image of other Southern urban centers (Can you spell A-T-L-A-N-T-A? Would you want to?). This provoked such outrage from the citizens who were busy rebuilding their homes and neighborhoods with little or no assistance or subsistence from the three tiers of government that the idea dried up and died on the proverbial vine. This soulless urbanization concept had no chance of survival in the face of such protest since its proponents had no vested interest in its outcome other than profit.
No, New Orleans initially sprouted out of the muddy marsh, and it would do so again. The nameless people would leave their marks, others coming upon these marks would take inspiration from them, and something new would grow. Something colorful and chaotic, built on the hopes of a people with little to lose in the way of possessions or rights, but a people filled to overflowing with outlandish dreams and fruitless hopes beyond reason.