This paper examines the component parts, and functions, of the “hype-video” in sports. Special attention is paid to the aesthetic freedoms deployed to 1) give new definition to otherwise anonymous, color-coordinated crowds, and 2) to adjust this mediated image of “Spirit Nation” at will. A comparison of “hype-videos” for Detroit-area teams and New Orleans teams framed by several years of fieldwork reveals contrasting civic recovery narratives, reframing team affiliation as a mutable form of cultural identity.

The esteemed jazz trumpeter and New Orleans Native Wynton Marsalis is no stranger to the New Orleans musical tribute. Indeed, without any further prompting, one might imagine the following is a clip from a jazz documentary—a colorful celebration of the widely recognized birthplace of the music with which he is associated:

This is not a clip from a jazz documentary though. The true inspiration for this particular performance was the so-called “Who Dat” Nation....

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