{"id":3858,"date":"2012-07-22T23:08:18","date_gmt":"2012-07-23T06:08:18","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=3858"},"modified":"2012-07-23T17:14:02","modified_gmt":"2012-07-24T00:14:02","slug":"uncle-lionel-goes-out-in-style","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2012\/07\/uncle-lionel-goes-out-in-style\/","title":{"rendered":"Uncle Lionel Goes Out In Style"},"content":{"rendered":"<p>Of the many places where I\u00e2\u20ac\u2122ve lived, from Choteau, Montana, to Iwakuni, Japan, to San Francisco and New York (mentioning a few), New Orleans is the most unusual, the one most often on my mind. \u00e2\u20ac\u0153This is really a banana republic, you know,\u00e2\u20ac\u009d my friend <a href=\"http:\/\/en.wikipedia.org\/wiki\/John_William_Corrington\"target=\"_blank\">Bill Corrington<\/a> once told me. He loved the city as much as I do, and he wasn\u00e2\u20ac\u2122t the only one to invoke that metaphor. Most people know about above-ground cemeteries, jazz funerals, streetcars, beignets and the madness of Mardi Gras, to mention obvious facets of Crescent City culture. <\/p>\n<p>\nUnless you\u00e2\u20ac\u2122ve lived there, perhaps it\u00e2\u20ac\u2122s impossible to know the mixture of <em>laissez faire<\/em>, stubbornness and gaiety that characterizes Orleanians,  regardless of background. All of that came flooding back when I read <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/07\/Lionel-Batiste2.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/07\/Lionel-Batiste2.jpg\" alt=\"\" title=\"Lionel Batiste\" width=\"200\" height=\"137\" class=\"alignleft size-full wp-image-3861\" \/><\/a>Keith Spera\u00e2\u20ac\u2122s story in the <em>Times-Picayune<\/em> about the lying- &#151;er&#151;standing-in-state of Lionel Batiste (photo by Marc Pelletier). The bass drummer in the Treme Brass Band was one of the Batiste clan that has provided New Orleans so many fine musicians. He died on July 8 at the age of 80. To identify him as a New Orleans character would be to drastically under-describe his personality. Here\u00e2\u20ac\u2122s a paragraph from Spera\u00e2\u20ac\u2122s story. <\/p>\n<blockquote><p>In a send-off as unique as the man himself, Mr. Batiste wasn\u00e2\u20ac\u2122t lying in his cypress casket. Instead, his body was propped against a faux street lamp, standing, decked out in his signature man-about-town finery.<\/p><\/blockquote>\n<p>Yes, his body. To read the whole thing, <a href=\"http:\/\/www.nola.com\/music\/index.ssf\/2012\/07\/uncle_lionel_batiste_gets_send.html\"target=\"_blank\">click here<\/a>.<\/p>\n<p>Now, for a taste of what made Uncle Lionel distinctive in a town packed with rare characters, here is a performance captured by videographer Beate Sandor in 2009. Uncle Lionel sits in at Snug Harbor with Charmaine Neville and the band led by Wendell Brunious. Lionel doesn\u00e2\u20ac\u2122t appear until 6:36, but you don\u00e2\u20ac\u2122t want to miss what comes before. Brunious makes the introduction. This makes me want to go \u00e2\u20ac\u0153home.\u00e2\u20ac\u009d  <\/p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"http:\/\/www.youtube.com\/embed\/GZlPTCsWR60?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>Lionel Batiste, RIP.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Of the many places where I\u00e2\u20ac\u2122ve lived, from Choteau, Montana, to Iwakuni, Japan, to San Francisco and New York (mentioning a few), New Orleans is the most unusual, the one most often on my mind. \u00e2\u20ac\u0153This is really a banana republic, you know,\u00e2\u20ac\u009d my friend Bill Corrington once told me. He loved the city as [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-3858","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/3858","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=3858"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/3858\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=3858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=3858"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=3858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}