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This is American Routes, our program, “How many Roads? Bob Dylan’s Back Pages.” Joan Baez sang and recorded many of Bob’s songs of love and loss.

We’ve got saxophonist Sonny Rollins on the essential support from his mother to persevere in jazz. Also Creole accordionist Geno Delafose tells of Mama coming out to the dance hall. And St. Louis soul singer Fontella Bass telling a tale of trying to take a train out of town, until her mother found out.

We feature gospel and R&B singer Mavis Staples, from the second installment of our show all about Bob Dylan. Bob Dylan admired the civil rights songs of the Staples Singers and would hear them on tour in the early ‘60s. Mavis Staples remembers when her father, Pops, heard Dylan for the first time and how Dylan’s protest lyrics influenced their family in return.

We got the beat on American Routes, from second line rhythms and tap dance in the street, to funk in the studio and the cowbell on the concert stage. Rhythm is something we all have: the heartbeat, body percussion, finger poppin’. Back down home here, we asked pianist Tom McDermott to demonstrate Latin rhythms in the piano music of New Orleans.

Today on Louisiana Considered, we learn about efforts to distribute diapers and raise awareness about shortages. We also hear about a music foundation that celebrates Cajun musical traditions and hear how ducks are impacting rice farms.

This is American Routes for Christmas, Hanukkah, Kwanzaa, New Years, and beyond. I’m Nick Spitzer in New Orleans, where holiday second lines are in the streets, French Réveillon feasts in the restaurants, and house light decor ranges from downhome color schemes to grandiose yard display. This hour we explore Santa’s exploits, fallibility, and possibility with songs from Baltimore’s Fat Daddy, Tampa Red, and Tennessee Ernie Ford. Also, Christmas songs and celebrations from French Louisiana to Mexico and Puerto Rico, holiday blues from Chuck Berry and Charles Brown, the abolitionist version of “O Holy Night” from soul queen Irma Thomas, and the ancient carol “Greensleeves” from John Coltrane. Right now let's get back out on “Santa’s Second Line” with New Orleans’ New Birth Brass Band on American Routes.

When it comes to supporting the community, chefs – New Orleans chefs in particular – are an extremely generous, giving bunch. And when it comes to helping their own in the service industry, they'll gladly give the shirt off their back – literally! To raise funds for a local mental health services program for hospitality workers, 21 Crescent City chefs have recently peeled off a bit more than just their shirts, baring it all – or at least most of it – for charity.

No matter where you live in Louisiana, it's Mardi Gras time! Carnival is when we all get to suspend our disbelief, don a mask, do or be something outrageous. This week, we explore the many ways people celebrate the season. Abby Roniger's new children's book depicts the joy and excitement of being a kid at Mardi Gras. Sally Asher tells us what it’s like to ride, dance, and roller skate down the parade route. And John LaFleur discusses the Courir de Mardi Gras, a ritual that takes place in rural Creole and Cajun parishes.

Today on Louisiana Considered, we hear about the four constitutional amendments on the ballot in Louisiana. We also learn about a new exhibit on the hidden history of free Black brotherhood in New Orleans, and get a sneak peak of the state’s first professional pickleball tournament.

This is American Routes from New Orleans, a city of music and songs, many of which have been written about it, often by outsiders. “Way Down Yonder in New Orleans"–music by John Turner Layton and lyrics from Henry Creamer–was published in 1922. “Way Down Yonder” was advertised as "A Southern Song, without A Mammy, A Mule, Or A Moon.” That was a rightful dig at some of the Tin Pan Alley clichés of the day. “Way Down Yonder in New Orleans" has been performed by many: Benny Goodman, the Andrews Sisters, Freddy Cannon, Jan and Dean, and Dean Martin. And now let’s go “Way Down Yonder” and beyond, starting with a fresh version of the old song from New Orleans Jazz Vipers on American Routes.