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[...]lining, which occurs every Sunday, nine months out of the year, involves a hired brass band and hundreds of dancers from the community-historically African Americans from impoverished neighborhoods but certainly not exclusive to that group-moving through the streets, stopping at designated neighborhood locales for food and alcohol, and \"rolling\" to the rhythm of the music. [...]line parades, too, \"serve as important gestures of memory\" in public space, particularly for black communities with complex, lineage-based social networks.32 These New Orleans traditions acquire new meanings in post-Katrina contexts, where the neoliberal project increasingly raises challenges to the logic of public space. [...]post-Katrina New Orleans, partly as a result of the show's production and partly due to the role the city plays in preserving imaginaries of multicultural urban life, emerged from the hurricane as a performative space tethered to media representation. Kevin Fox Gotham's Authentic New Orleans: Tourism, Culture, and Race in the Big Easy (2007) provides a detailed examination of the burgeoning tourist industry in New Orleans. Since the 1960s, the city has seen a rapid increase in its tourist economy, while at the same time experiencing \"dramatic losses in urban population, stagnant incomes, and persistent poverty and racial inequality\" (16).

Following pressure from mayors and other officials, LA gov Kathleen Blanco vetoed a LA state franchising bill Wed.