A comprehensive new book tells the complete story of Banksy's enigmatic visit to New Orleans in 2008, three years after Hurricane Katrina devastated the city. "NOLA RAIN: The New Orleans Banksy Story" by Jesse Zuefle offers the most detailed account yet of how the world's most famous street artist left behind 17 murals as a powerful commentary on government failure and human resilience.
Jesse Zuefle, who operates under the street art pseudonym "Banksy Hates Me," brings unique credentials to this project. For over a decade, he served as the self-appointed guardian of Banksy's famous "Umbrella Girl" mural, regularly replacing protective plastic sheeting and cleaning off vandalism. This hands-on role positioned him perfectly to uncover the complex web of stories surrounding Banksy's Louisiana adventure.
The book arrives at a particularly meaningful time, coinciding with the 20th anniversary of Hurricane Katrina. The Lower Ninth Ward, where several pieces appeared, was among the areas worst hit by the hurricane's flooding. This predominantly African American neighborhood became a symbol of both government abandonment and community resilience. Treme, where "Boy with Trumpet" was discovered, is one of America's oldest African American neighborhoods and the birthplace of jazz, adding cultural significance to Banksy's chosen locations.
With refreshing honesty, Zuefle admits the challenges of documenting Banksy's work: "The stories you will read in this book are often hearsay. Due to the natural mystery of all things Banksy-related, verifying nearly anything has been close to impossible." Despite this, his decade-long stewardship of the Umbrella Girl provides the book's emotional core. His maintenance duties, which included cleaning everything from graffiti tags to human waste from the protective covering, reveal the gritty reality of preserving street art.
Zuefle's personal connection to New Orleans began in 1999 when the 54-year-old Buffalo native fell in love with the city's "architecture and arty vibe." In 2011, he bought a house in the Marigny neighborhood and began creating his own Banksy-inspired stencil work. His pseudonym emerged from a desire to distinguish his tribute pieces from potential counterfeits, showing his honest approach in a field often clouded by opportunistic imitators.
The book reveals fascinating details that will intrigue seasoned Banksy watchers. Zuefle investigates stories behind three portraits of Abraham Lincoln that Banksy allegedly gave as gratuities to local helpers. He also explores the curious tale of a panel van that crashed into the building housing the Umbrella Girl, possibly in an attempt to destroy the artwork.
Most dramatically, Zuefle tracks down the long-lost "Boy with Trumpet" piece. According to his investigation, two New York collectors flew to New Orleans in 2008 specifically to acquire a Banksy work. They allegedly pried the painting from the clapboard siding of a Treme house and transported it to Manhattan. When Zuefle finally located the piece in 2024, the owners insisted he be blindfolded and surrender his phone before viewing it.
These stories connect to broader questions about ownership and preservation of street art. When hotelier Sean Cummings invested significant resources in restoring "Boy on a Life Preserver Swing," he framed it as preserving "public good," making the work accessible in his hotel lobby. This approach contrasts sharply with the secrecy of other collectors, highlighting the tension between commercial exploitation and cultural stewardship.
Banksy's 2008 visit came during a crucial period in New Orleans' recovery, when the initial emergency response had given way to the complex work of rebuilding communities. His murals served as both artistic commentary and an international attention-grabber, forcing viewers to confront ongoing struggles largely overlooked in mainstream media coverage.
Most of the original works have now disappeared due to vandalism, demolition, or removal, making Zuefle's photographic documentation invaluable. As he explains, no New Orleans Banksys survive in their original states or locations. This visual record becomes especially important considering the ephemeral nature of street art.
The chronicle captures a pivotal moment in the evolution of street art from subculture to mainstream cultural force. For New Orleans, a city where culture serves as both an economic engine and spiritual sustenance, these interventions represented both an artistic gift and a political challenge. This legacy is now preserved through the dedication of one passionate fan who spent years protecting and documenting these works.
