The Face of Marie Laveau † New Orleans Voodoo Queen - Information on Ghost, Hauntings and Stories of the Unexplained!
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Brad and Sherry Steiger

Please Visit his Official Web Site ~

Conscious Channeler Edward Shanahan



Marie Laveau

No one knows the face of Marie Laveau, we only know her voodoo legacy, legend and myth!

Although there is plenty of tall tales and assorted historical information about Marie Laveau (Lavaux) and her daughter and namesake in the legends and lore of Old New Orleans, known as Marie II, photos or pictures of her do not exist. The many drawings and paintings alike of her actually do. But none capture the real image of her. Schneiders painting was done in the 1920's close to over 40 years after her death. It is based on a painting by George Caitlin which is of a lady wearing a tignon (a required head-covering during the slave era that evolved into fashionable headress), and bares no reseblence of Marie Laveau except by name. No portrait was ever painted of her from life and no actual photo of her has ever sufaced publically.

Story by Mickey Of Miami, Artwork by Ricardo Pustanio


Portrait of Marie Laveau: Franck Schneider, Marie Laveau, c. 1920s, oil on canvas, Louisiana State Museum, Baton Rouge, Louisiana. c. 1920s.

Marie Laveau I, the mother, supposedly was born in New Orleans in 1794 and was considered a free woman of color. Being a mulatto, she was of mixed black, white and Indian blood. Sometimes she was described as a descendant of French aristocracy or a daughter of a wealthy white planter. Her marriage to Jacques Paris, a free man of color from Saint Dominque (Haiti), is recorded as occurring on August 4, 1819; the records also indicates the Marie Laveau was an illegitimate daughter of Charles Laveau and Marguerite Darcantrel. Marie was described as tall and statuesque, with curly black hair, reddish skin and "good" features (then meaning more white than Negroid).

But so many who try to make a likeness of her often paint her as a black woman. By 1786, the increasing assertiveness of black New Orleanians and the growing numbers of free blacks alarmed Spanish officials. The then Spanish Governor attempted to restrict black mobility by suppressing free black assemblies and banning concubinage. He prohibited slaves from renting apartments, buying liquor, or dancing in public squares on days of religious obligation. Miró criticized black women for their "idleness," "incontinence," and "libertinism" and demanded that they renounce their "mode of living." He threatened to punish Afro-Creole women wearing feathers, jewels, or silks and he prohibited all headdresses. It was then that new decree required Creoles, people of color & black women to wear their hair bound in a tignon (kerchief) as a badge of their lowly status in colonial society.

These women fought the new restriction by wearing elaborately designed and brilliantly colored tignons. The practice continued into the 19th century.

Marie Laveau

Marie Laveau Queen of The Voodoos, New Orleans 1940's

Hoodoo came into being when the Vodou of Haiti was imported into French Louisiana by planters and slaves fleeing the Haitian revolution. When Voodoo was proscribed in New Orleans as "insurrectionary," it went underground and mythopoetic figures such as Dr. John and Marie Laveau shaped its American manifestation. It became Hoodoo when it dispersed out of New Orleans into the southern black experience and became the term for a variety of African magical/religious practices that had survived among assimilated slaves.

Marie Laveau

This Marie Laveau image by New Orleans' artist, Dimitri Fouquet, of his original oil paintings as featured on Dr. John's
CD "Creole Moon."

Fouquet's image is that of a black Marie Laveau. With the strangest hands that any woman or man could ever possess. In the O riginal oil Painting she is doing her voodoo work with a Large footed cock over the familiar wood altar to the Great Zombi Snake.

Voodoo Tarot of New Orleans
Marie Laveau (The High Priestess) by Sallie Ann Glassman

Marie Laveau

The Voodoo Tarot of New Orleans is a deck rich in primal spirituality. It draws on images from the religion Santeria, which weaves Catholic and African beliefs into a vibrant tapestry. Sallie Ann Glasman A reigning Voodoo Queen in New Orleans sees her as a voluptious creole dark skinned woman standing befor a curtain of cowerie shells.

Nevertheless, there’s not a single person who grew up in New Orleans without hearing about the legend and powers of the city’s infamous Queen of Voodoo. But no one Knows what she truly looked like except from the many noted descriptins given of her.

Marie Laveau

Marie Laveau: Free Woman of Color
“In a study of the role of women as contemporary Vodou leaders, Karen McCarthy Brown observes, ‘My impression is…that almost always women of this type—those who have both freedom and responsibility in large measures—are the successful vodou priestesses.’ As a free woman of color earning her way in the world, Laveau epitomizes the profile. Michael Ventura, a Los Angeles-based newspaper columnist and critic of popular culture, offers this following characterization: ‘Marie Laveau was what we once would have called a witch and now might call a shaman. In Haiti, she would have been called a mambo and in New Orleans she was a queen.’ Whatever label she eventually merited, the hairdresser Laveau—known as the Widow Paris—came to be much in demand by the ladies of Creole high society, and this work is generally thought to have been the vast catalogue of secrets and family skeletons she maintained, and the network of servants and slaves she developed to collect information and do her bidding within the homes of the rich and powerful.” This is an excerpt from Barbara Rosendale Duggal’s essay “Marie Laveau: The Voodoo Queen Repossessed” in Sybil Kein’s “Creole.”

I have tried to capture the spirit of a regal woman endowed with spiritual powers and wisdom. This second version of Marie is also based on a photograph of a 19th Century painting of Laveau from the Louisiana State Museum.

Marie Laveau

Marie Laveau Drawing by Charles Gandolfo

Gandolfo's Black and white image very closely resembles the Franck Schneider

Louisiana Voodoo, also known as New Orleans Voodoo is a term that is used for a form of the Voodoo spirituality which historically developed within the French- and Louisiana Creole French-speaking African-American population of the U.S. state of Louisiana. An oft-mentioned historical figure in Louisiana Voodoo is Marie Laveau.

New Orleans Historic Voodoo Museum

Marie Laveau

Charles Gandolfo's original painting of Marie Laveau hangs at the Voodoo Museum in New Orleans.

In his image appears many of the things associated with Laveaus life, from the famous Masion Blanche, to mysterious secret rituals , Voodoo gris-gris and the haunted tomb in which she is so reported to be buried in.

The city of New Orleans plays up the mystical side of Marie Laveau, the stories of her spells and charms, the accounts of her dancing with her large snake Zombi. Marie was said to possess perpetual youth, but the truth is that she had a daughter who closely resembled her and carried on the tradition by becoming a Voodoo high priestess after her mother had retired.


Marie Laveau

Marie Laveau I and II mixed medium and montage by Ricardo Pustanio. Marie Laveau II in the fore ground. Marie Laveau I upper right. This photo was taken as offerings were presented at Sallie ann Glassmans Marie Laveau Head washing ritual which is held each year in June on Bayou St. John.

Mew Orleans Mardi Gras artist Ricardo Pustanio used his own interpretations of the Franck Schneider images to produce these works of art which now hang at the Achade Meadows peristyle, located at 3319 Rosalie Alley, off of Rampart, between Piety and Desire. His work is actually paintings and montage on mirrors and have many elements associated with Marie laveau I and Laveau II. From jewlery to buttons and many forms of Gris- Gris and voodoo curios.

Marie Laveau : L to R , AlyndePustanio, Sallie Ann Glassman, Ricardo Pustanio

Pictured from L to R, Staff Managing Editor for Haunted America Tours Alyne Pustanio, Mambo Sallie Ann Glassman, and Well known New Orleans Mardi Gras Artist For The Krewe Of Mid City Parade, and Haunted America Tours Ricardo Pustanio.

Marie Laveau succeeded Sanite Dede as the voodoo queen (high priestess) of New Orleans sometime around 1830. No one in the hierarchy of voodoo priests and priestesses disputed the take over and Laveau's rise to that position, for it was widely known that she was gifted with powers of sorcery and the ability to fashion charms of unfailing efficacy. Laveau was a Creole freewoman, and by profession a hair dresser.

Marie Laveau

Ode to Marie Laveau
(Pastels on Arches Paper, 2002)
This piece was created with two students from the sixth grade class at McDonogh 15, who drew objects they associated with the popular beliefs of Voodoo practices. Just the word “voodoo” drew some of the most interesting responses, and the objects they related with this mysterious religion were candles, potion flasks and voodoo dolls. I began the Laveau portrait, they drew their iconography, and I integrated their imagery with the whole drawing. This is the first drawing that began the series as I chose to create my own version of Marie Laveau, the most famous figure of the “free people of color”. This portrait is based on a photo reproduction of a painting in Mary Gehman’s “Women and New Orleans” book. The image is attributed to be “Marie Leveau”, and the actual painting hangs at the Louisiana State Museum in New Orleans. (This piece is in the permanent collection of the Ogden Museum of Southern Art).

Marie Laveau

Dr. Martha Ward's book Cover: Voodoo Queen TheSpirited Lives O f Marie Laveau.

Dr. Ward is a University Research Professor: Anthropology and Urban Studies

Book artwork by Richard Lewis

Author answers questions about the Spirited Lives and Times of Marie Laveau

1. What color was Marie Laveau?

Red, yellow, brown, black, golden, rosy brick, peach, banana, apricot, light, bright, and fair—or so people in New Orleans swore. They themselves and all their family members insisted to their dying breaths that they were Creole—multiracial, multi-cultural, French-speaking, Catholics.

Many artist See Marie Laveau as a black woman others see her a fair golden skined Creole. Richard Lewis painted her as the blue lady with her Snake zombi around her neck in the full moon voodoo light.

Voodoo Queen author, Martha Ward, is quoted in New York Times article on Voodoo:

"Something very real is happening," said Martha Ward, a professor of anthropology at the University of New Orleans who wrote one of the forthcoming books about Laveau. "Americans today are hungry for spiritual fulfillment, and voodoo offers a direct experience with the sacred that appeals to more and more people.

"This is especially visible in New Orleans, which has always been a center of those beliefs," Ms Ward said, "Marie Laveau rules the imagination of this city. People think about her, see her, have visions of her, dream about her, talk to her. I know because these people are showing up on my doorstep almost every day."

from "Interest Surges in Voodoo, and Its Queen," New York Times, November 30, 2003

So what is the true face of this voodoo queen?

Marie Laveau

Computoer art of Marie Laveau by Mary Waite


The Voodoo Queen: Book VooDoo Book
Robert Tallant

Marie Laveau

Marie Laveau art on the cover of Robert Talents Book The Voodoo Queen by


Marie Laveau tomb placquard


Marie Philomene Laveau Glapion


Those who have passed by the quaint old house on St. Ann, between Rampart and Burgundy streets with the high frail looking fence in front over which a tree or two is visible, have been within the last few years, noticed through the open gateway a decrepid old lady with snow white hair, and a smile of peace and contentment lighting up her golden features. For a few years past she has been missed from her accustomed place. The feeble old lady lay upon her bed with her daughter and grand children around her ministering to her wants.

On Wednesday the invalid sank into the sleep, which knows no waking. Those whom she had befriended crowded into the little room where she was exposed, in order to obtain a last look at the features, smiling even in death, of her who had been so kind to them.

At 5 o'clock yesterday evening Marie Laveau was buried in her family tomb in St. Louis Cemetery No. 1. Her remains were followed to the grave by a large concourse of people, the most prominent and the most humble joining in paying their last respects to the dead. Father Mignot conducted the funeral services.

Marie Laveau was born ninety-eight years ago. Her father was a rich planter, who was prominent in all public affairs, and served in the Legislature of this State. Her mother was Marguerite Henry, and her grandmother was Marguerite Semard. All were beautiful women of color. The gift of beauty was hereditary in the family, and Marie inherited it in the fullest degree. When she was twenty-five years old she was led to the altar by Jacques Paris, a carpenter. This marriage took place at the St. Louis Cathedral. Pere Antoine, of beloved memory, conducting the service, and Mr. Mazureau the famous lawyer, acting as witness. A year afterwards Mr. Paris disappeared, and no one knows to this day what became of him. After waiting a year for his return she married Capt. Christophe Glapion. The latter was also very prominent here, and served with distinction in the battalion of men of San Domingo, under D'Aquin, with Jackson in the war of 1815.

Fifteen children were the result of their marriage. Only one of these is now alive. Capt. Glapion died greatly registered, on the 26th of June, 1855. Five years afterwards Marie Laveau, became ill, and has been sick ever since, her indisposition becoming more pronounced and painful within the last ten years.

Besides being very beautiful Marie also was very wise. She was skillful in the practice of medicine and was acquainted with the valuable healing qualities of indigenous herbs.

She was very successful as a nurse, wonderful stories being told of her exploits at the sick bed. In yellow fever and cholera epidemics she was always called upon to nurse the sick, and always responded promptly. Her skill and knowledge earned her the friendship and approbation, of those sufficiently cultivated, but the ignorant attributed her success to unnatural means and held her in constant dread.

Notably in 1853 a committee of gentlemen, appointed at a mass meeting held at Globe Hall, waited on Marie and requested her on behalf of the people to minister to the fever stricken. She went out and fought the pestilence where it was thickest and many alive today owe their salvation to her devotion.

Not alone to the sick man was Marie Laveau a blessing. To help a fellow citizen in distress she considered a priceless privilege. She was born in the house where she died. Her mother lived and died there before her. The unassuming cottage has stood for a century and a half. It was built by the first French settlers of adobe and not a brick was employed in its construction. When it was erected it was considered the handsomest building in the neighborhood. Rampart street was not then in existence, being the skirt of a wilderness and latterly a line of entrenchment. Notwithstanding the decay of her little mansion, Marie made the sight of it pleasant to the unfortunate. At anytime of night or day any one was welcome to food and lodging.

Those in trouble had but to come to her and she would make their cause her own after undergoing great sacrifices in order to assist them.

Besides being charitable, Marie was also very pious and took delight in strengthening the allegiance of souls to the church. She would sit with the condemned in their last moments and endeavor to turn their last thoughts to Jesus. Whenever a prisoner excited her pity Marie would labor incessantly to obtain his pardon, or at least a commutation of sentence, and she generally succeeded.

A few years ago, before she lost control of her memory, she was rich in interesting reminiscences of the early history of this city. She spoke often of the young American Governor Claiborne, and told how the child-wife he brought with him from Tennessee died of the yellow fever shortly after his arrival with the dead babe upon her bosom was buried in a corner of the old American Cemetery. She spoke sometimes of the strange little man with the wonderful bright eyes Aaron Burr, who was so polite and so dangerous. She loved to talk of Lafayette, who visited New Orleans over half a century ago. The great Frenchman came to see her at her house, and kissed her on the forehead at parting.

She remembered the old French General, Humbert, and was one of the few colored people who escorted to the tomb long since dismantled in the catholic Cemetery, the withered and grizzly remains of the hero of Castelbar. Probably she knew Father Antoine better than any living in those days - for he the priest and she the nurse met at the dying bedside of hundreds of people - she to close the faded eyes in death, and he, to waft the soul over the river to the realms of eternal joy.

All in all Marie Laveau was a most wonderful woman. Doing good for the sake of doing good alone, she obtained no reward, oft times meeting with prejudice and loathing, she was nevertheless contented and did not lag in her work. She always had the cause of the people at heart and was with them in all things. During the late rebellion she proved her loyalty to the South at every opportunity and fully dispensed help to those who suffered in defense of the "lost cause." Her last days were spent surrounded by sacred pictures and other evidences of religion, and she died with a firm trust in heaven. While God's sunshine plays around the little tomb where her remains are buried, by the side of her second husband, and her sons and daughters, Marie Laveau's name will not be forgotten in New Orleans. Daily Picayune - June 18, 1881

Marie Lavaux

Death of the Queen of the Voudous
Just Before St. John's Eve.

"On the eve of St. John
I must wander alone,
In thy bower, I may not be!"

" Marie Glassion, nee Lavaux, was buried yesterdy evening, and her funeral was attended by large numbers of the colored population. Marie Lavaux, as is well-known by all the old residents of the city, was the queen of the Voudous, that curious sect of superstitious darkies that combined the hard traditions of African Legends with the fetich worship of our Creole Negroes.

She was a woman of some presence and considerable conversational powers. Somewhat bent with years when she last officiated as regnant mistress of her weird domain, she yet retained a remarkable control over her whilom subjects and impressed them with her sovereignty. As a rule reticent on subjects other than fetich worship, she was somewhat loquacious and quite a spirited talker.

Her eyes were peculiar in their look and had considerable magnetism about them. Her face was of the old Negro type, expressionless except when highly animated, wrinkled from forehead to chin and with a skin not unlike parchment.

She was a peculiar character, and one which essentially belongs to an era of Louisiana long since passed away. That remarkable woman died at the advanced age of ninety-eight years, and it is curious that her demise should have happened within a few days of the "eve of good St. John," which is the anniversary of the Voudous, and which has been commemorated by the sect under her regency, for the last forty years, on the twenty-fourth of June of each year. When the next celebration comes, the Voudous will have no queen and on the eve of St. John Marie Lavaux will be voudouing with the ghosts of the past and her charms and incantations, will be of no avail. For she had love charms that brought lovers together and fearful drugs that sundered loving souls. Among her people her incantations, fetiches and charms were supposed to be without fail, and thousands crowded around her to obtain relief, fortune or revenge. How they were satisfied is neither here nor there, but they believed in the dark superstition, and faith covered all the faults and lies that made her a sorceress and a queen. With Marie Lavaux dies the last of these old Negro Creole characters that had almost risen in New Orleans up to the standard illustrations.

First went old Zabette, the celebrated cake woman of the St. Louis Cathedral, who in old times delighted the children and even some of the grown folks with her home-made pastry and delicious "boiere du pays," always kept cool in a bucket of clearest water. Of early mornings Zabette gave out choice black coffee in tiny cups to her clients, and we remember an old song composed ex tempore by a representative Creole on a certain morning succeeding a sleepless night, which she took as the price of a cup of coffee, and which began in this wise:

"Piti fille, piti fille, piti fille,
Piti fille qui couri dan de lo."

Then went Rose, the coffee woman of the French Market, one of the comeliest of her race, black as Erebus, but smiling always and amicable as dawn. Her coffee was the essence of the fragrant bean, and since her death the lovers of that divine beverage wander listlessly around the stalls of Sunday mornings with a pining at the bosom which cannot be satisfied.

Now Marie Lavaux is gone, the least graceful or poetic of these strange personations of the past, but undoubtedly the most powerful, and we can say that with her vanishes the embodiment of the fetich superstition and the last representative of that class whose peculiar idiosyncracies were derived from the habits and customs of old Louisiana. Much evil dies with her, but should we not add, a little poetry?" New Orleans Democrat - June 17, 1881

Marie Laveau Statue

Marie Laveau Statue on slate By Artist Ricardo Pustanio




"Who has been stuffing our contemporaries in the matter of the defunct voudou queen, Marie Lavoux? For they have undoubtedly been stuffed, nay crammed, by some huge practical joker. The informant for all is evidently the same, as the stories of the Picayune, Item and States consist admirably in their uniform departure from historical fact. According to the accounts of these esteemed but deluded contemporaries, Marie Lavoux was a saint, who had spent a life of self-sacrifice and abnegation in doing good to her fellow-mortals, and whose immaculate spirit was all but too pure for this world.

One of them even so far in his enthusiasm as to publish a touching interview with the sainted woman, in which the reporter boasts of having deposited a chaste kiss on her holy forehead. We are sorry for that reporter if his story is true, for if he really believes it all, his only consolation is in the fact that greenness is the color of hope. These fictions had one good result, for they created a vast amount of merriment among the old Creole residents, and in fact among all men of mature age who knew the social history of their time in New Orleans.

The fact is that the least said about Marie Lavoux's sainted life, etc., the better. She was, up to an advanced age, the prime mover and soul of the indecent orgies of the ignoble Voudous; and to her influence may be attributed the fall of many a virtuous woman. It is true that she had redeeming traits. It is a peculiar quality of the old race of Creole Negroes that they are invariably kind-hearted and charitable. Marie Lavoux made no exception. But talk about her morality and kiss her sainted brow - pouah!!! The New Orleans Democrat, June 18, 1881

The last account we have of her was published in 1886 by George W. Cable, one of the most respected Southern journalists of his era:

"I once saw, in extreme old age, the famed Marie Laveau. Her dwelling was in the quadroon quarter of New Orleans ... In the center of a small room whose ancient cypress floor was worn with scrubbing, sprinkled with crumbs of soft brick -- a Creole affectation of superior cleanliness -- sat, quaking with feebleness in an ill-looking old rocking chair, her body bowed, her wild, gray witch's tresses hanging about her shriveled, yellow neck, the queen of the Voodoos. Three generations of her children were within the faint beckon of her helpless, wagging wrist and fingers ... one could hardly help but see that her face, now so withered, had once been handsome and commanding. There was still a faint shadow of departed beauty in the forehead, the spark of an old fire in the sunken, glistening eyes, and vestige of imperiousness in the fine, slightly aquiline nose, and even about her silent, woebegone mouth ... Her daughter was also present, a woman of some 70 years, and a most striking and majestic figure. In features, stature and bearing she was regal. One had but to look at her, and impute her brilliances -- too untamable and severe to be called charms and graces -- to her mother, and remember what New Orleans was long years ago, to understand how the name of Marie Laveau should have driven herself inextricably into the traditions of the town and the times."

On June 16, 1881, word went out that Marie Laveau was dead. The Times Democrat wrote, "Much evil dies with her, but should we not add, a little poetry as well?"

In Search of Marie Laveau







Marie Laveau Voodoo Secret Society Curios

Real Marie Laveau Tomb Ghost Pictures




IMAGE SIZE 1024 X 768 AND 800 X 600

Click a thumbnail "SIZE BELOW IMAGE" to view wallpaper, then right-click wallpaper to download


VOODOO DOLL GRAVE 800 X 600 OR 1024 X 768




The following are some places of interest that any fan of Marie Laveau must include for a perfect visit to the haunts of this most famous Voodoo Queen Of New Orleans.

1801 Dauphine Street Marie -Laveau's father's home

1900 block of North Rampart Street (in Faubourg Marigny) - wedding house from father

1016, 1028, 1022, 1020 St. Ann (originally 152 Rue St. Ann) -house received after helping win a falsely accused rape case (reportedly)

St. Louis No. 1, Crypt No. 3 - reported site of Marie Laveau's tomb

723 Rue Dumaine - New Orleans Historic Voodoo Museum

729 Bourbon Street - Marie Laveau's House of Voodoo

Notes and Bibliography

1. Robert Tallant, Voodoo in New Orleans (Gretna: Pelican Publishing Company, 1946), p. 53.
2. Ibid., 54.
3. Jessie Mulira, "The Case of Voodoo in New Orleans" in Africanisms in American Culture, ed. Joseph E. Holloway (Bloomington: Indiana University Press, 1990), p. 49.
4. Adrian Nicholas McGrath, The Voodoo Queen, 5. Mulira, p. 54.

6. Guiley, Rosemary Ellen.
The Encyclopedia of Witches and Witchcraft.
New York: Facts On File, 1989 [ISBN 0-8160-2268-2]


Antippas, A.P. "A Brief History of Voodoo." New Orleans: Hembco, 1988.

Gandalfo, Charles. "Marie Laveau of New Orleans." New Orleans: New Orleans Historic Voodoo Museum, 1992.Haskins, Jim. Voodoo and Hoodoo. Briarcliff Manor: Stein and Day, 1978.

Martinez, Raymond J. Mysterious Marie Laveau, Voodoo Queen. New Orleans: Hope Publications, 1956.

Mulira, Jessie Gaston. "The Case of Voodoo in New Orleans." In Joseph E. Holloway, ed., Africanisms in American Culture. Bloomington: Indiana University Press, 1990.

Tallant, Robert. Voodoo in New Orleans. Gretna: Pelican Publishing, 1956.


"Marie Laveau was a voodooienne. She was the queen of them all. White and colored folks used to go to her. She could keep anybody from harming you and she could do anything you wanted done to anybody. How she used to do it, I don't know. She used to say prayers and mix different things to give people to drink, to rub with, to throw over your shoulder, to throw in the river. Oh! She had a million things to do but everything would happen just like she would say. She used to get a lot of money and gifts from rich white folks. Marie Laveau is a name that was respected by everybody and dreaded by a lot of people. When she died she had a big funeral with white and black paying their respect. For years after she died people used to go put money (silver) on her grave in the St. Louis Cemetery. Up until now some people goes there and put their hand on her grave and makes a wish and their wish is granted. I don't recollect exactly where it is because I'm getting along in years now and the name is worn off the tombstone but it's in the St. Louis Cemetery." Aileen Eugene, 1919 N. Priour St., April 27, 1930


See the Portrait of Marie Laveau
Franck Schneider after George Catlin
c. 1920s
Oil on canvas


Laveau, Marie
Marie Laveau I, the mother, supposedly was born in New Orleans in 1794 and was considered a free woman of color. Being a mulatto, she was of mixed black, ...

Marie Laveau - Wikipedia, the free encyclopedia
Alleged portrait of Marie Laveau, which hangs in the Louisiana State Library in ... Marie Laveau also appears in the novel Voodoo Dreams written by Jewell ...

Voodoo Tomb of Marie Laveau, Voodoo Queen; Investigative Files ...
Among the sites associated with New Orleans voodoo is the tomb of its greatest figure, Marie Laveau. For several decades this.

Marie Laveau - restaurang / bar / nattklubb
This text is replaced by the Flash movie. Marie Laveau. This text is replaced by the Flash movie. This text is replaced by the Flash movie. ...

(Example: "Beautiful Marie Laveau, love queen of New Orleans, please grant ... Answer: Marie Laveau is the most well known American voodoo priestess to have ...

No study of ghostly tales or strangeness in New Orleans would be complete without mention of Marie Laveau, the unchallenged "Queen of Voodoo" in New Orleans ...

French Creoles | Marie Laveau
Come on in and learn something new, Read about the forgotten Creole culture of America. Home brewed mixture of African, French, Spanish, ... ... es/marielaveau/marielaveau.htm

Voodoo in New Orleans: Marie Laveau Photos
This was once the house of Marie Laveau II, one of the orignal Marie's fifteen children. It is now a tourist shop called Marie Laveau's House of Voodoo. ...




Performed by Bobby Bare
Written by Shel Silverstein and Baxtor Taylor

The most famous of the voodoo queens that ever existed
Is Marie Laveau, down in Louisanaa
There's a lot of wierd, ungodly tales about Marie,
She's supposed to have a lot of magic potions, spells and curses....

Down in Louisana, where the black trees grow
Lives a voodoo lady named Marie Laveau
Got ablack cat's tooth and a Mojo bone
And anyone who wouldn't leave her alone
She'd go (growl) another man done gone.

She lives in a swamp in a hollow log
With a one-eyed snake and a three-legged dog
She's got a bent, bony body and stringy hair
If she ever seen y'all messin' 'round there
She'd go (growl) another man done gone.

And then one night when the moon was black
Into the swamp come handsome Jack
A no good man like you all know
(TALK) He was lookin' around for Marie Laveau.

He said Marie Laveau, you handsome witch
Gimme a little a little charm that'll make me rich
Gimme a million dollars and I tell you what I'll do
This very night, I'm gonna marry you
Then It'll be (growl) another man done gone.

So Marie done some magic, and she shook a little sand
Made a million dollars and she put it in his hand
Then she giggled and she wiggled, and she said Hey, Hey
I'm gettin' ready for my weddin' day.

But old handsome Jack he said goodbye Marie
You're too damned ugly for a rich man like me
Then Marie started mumblin', her fangs started gnashin'
Her body started tremblin', and her eyes started flashin'
And she went (growl) another man done gone.

So if you ever git down where the black trees grow
And meet a voodoo lady named Marie Laveau
If she ever asks you to make her your wife
Man, you better stay with her for the rest of your life
Or it'll be (growl) another man done gone



Ghost Articles & Haunted Stories






Ms Glassman is also the artist for the ENOCHIAN TAROT DECK, artist and co-creator of THE NEW ORLEANS VOODOO TAROT, and author and artist of the book VODOU VISIONS: ENCOUNTERS WITH DIVINE MYSTERY.

Vodou Visions, Comprehensive and inviting, this book introduces readers to Vodou's rich history, powerful ancestors, and vibrant spirits, known as Lwa. With more than one hundred breathtaking illustrations, Vodou Visions reveals how to honor and invoke the Lwa with specific ceremonial offerings and litanies. Using methods drawn from more than twenty years of practice, Vodou priestess Sallie Ann Glassman shares purification and empowerment rituals for individuals, communities, homes, and spiritual spaces. For more advanced practitioners, Glassman describes ways to deepen communication with the Lwa and to give thanks for an ongoing spiritual relationship. The visions of the Lwa bring a living experience of the Spirit into daily life. Haunting Voodoo rituals New Orleans, Waters of the Abyss, Ayida Wèdo, Tree of Life, Mardi Gras, Papa Legba, Petwo Lwa, Magic Mirror, Western Ceremonial Magick, Nan Nan Buklu, Marie Laveau, Saint Gerard, Ezili Freda, West Africa, Each Sèvitè, Santa Barbara, Master of the Head, Azaka La Flambo, Danbala La Flambo, Danbala Wèdo, Ezili La Flambo, Gede La Flambo, Madanm Lalinn, Manman Brijit
This book and 79-card deck mirror the face of New Orleans Voodoo that has emerged from the Dahomey tradition of West Africa, Creole and South American cultures. Explains rituals of the Voodoo religion in the context of Tarot spreads and readings, adding a completely new dimension to this ancient tradition of divination. Louis Martinie is a teacher and musician, who has served as editor of Black Moon Publishing  for the past fifteen years. He is an accomplished drummer of both sacred and secular music, and is the author of Waters of Return and The Aeonic Flow of Voodoo. Award-winning artist Sallie Ann Glassman was educated at Columbia University and the New Orleans Art Institute. She is the designer of the Enochian Tarot, and is a published book cover illustrator.





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