Where To Buy Veron Sausage [UPD]
Veron Smoked Sausage uses our original Louisiana recipe from 1938, so you can take it to the bank that every sausage is authentic and delicious. Our sausage is slow smoked with natural hickory, made from 100% shoulder-cut pork and filled with flavor, not fillers. Made the right way, by the right people, with the right ingredients, Veron Smoked Sausage is sausage with character.
where to buy veron sausage
Follow your nose or the map below to locate the store nearest you that carries Veron Smoked Sausage. We commend these fine establishments for offering you fine Louisianians our beloved sausage products. Type in your zip code, find stores in your area and drive safely.
You can't have smoke without fire, and this sausage brings plenty of both. With an extra dash of Cajun spices, Veron Hot delivers the perfect amount of smoky heat to any dish, and keeps your taste buds wanting more. Pace yourself.
The absolute best smoked sausage I have ever had in my life!!! I absolutely love it. I use it exclusively when I cook for friends, parties, and holiday gumbo. I tried it once about 5 years ago and... Read more
the link sausage is the very best. never greasy. Whenever I go home to NOLA, a stop at Veron's is an absolute must on the way back to Houston. So many of my friends have tried it, I usually have... Read more
The dance belongs to all countries and to all ages; it has come down to us through all myths, through all histories, through all religions, in spite of repressive edicts and anathemas; and, though modified by epoch and fashion, like a well-tuned instrument, it echoes always in harmony with its times, it adapts itself to the land of its birth, and it has nevertheless always and everywhere preserved much of its original character.
Enough, perhaps, has been said to indicate how superficial is the view which calls the dance only a frivolous amusement, and how inadequately we yet understand its historical import, its possibilities as an art, and its power towards creating instincts of culture and refinement. It is pleasant to watch the dance as it expresses its varied moods under each varied sky. Beautiful in Greece, where it still speaks of classical times, it winds and unwinds its chain at the popular festivals; voluptuous in 0037 RUSTIC DANCE IN HOLLAND(From an Engraving after David Teniers)
Primarily, the dance of Greece was a form of worship and a branch of education, but it did not long remain stationary, and from its religious origin it soon penetrated every-day life, forming part of all merry-making, and being introduced into the drama, where it attained greater perfection, and rose to art.
There is very little to say about the modern dances of Greece which has not been said about the ancient dances. Many have been found by recent travellers to correspond with those of old times. Mr. Theodore Bent, in his book on the Cyclades, describes several. There is no doubt that in Crete especially, where old customs prevail, the ancient dances are still popular.
Wilder groups amuse themselves in the Pyrrhic dance of the Spacchiotes, danced in short kirtles, long boots, with a quiver of arrows and bent bow; the Klepht and Albanian dances, where a long chain of dancers is led by a coryphæeus. He nods his head or waves a handkerchief, to mark the time. Childe Harold looked on as
Young, righteous, solid, heroic Rome danced very little in the time of Romulus. But one dance is known; and it was performed only by the men, no doubt with a due sense 0095 61 of importance. But it is always and everywhere through women that manners change; thus it happened that Numa, inspired by Egeria, became an enthusiast on the art of dancing. In order to invest it with greater dignity, he introduced the dance as part of the cult of Mars. Before this the Romans had been contented with a somewhat dry ritual, but the zeal of the king pressed into the service of Mars twelve priest, among whose duties was the performance of a solemn sacrificial dance. They were called Salii, and their dance, Salian.
On the first of May the youths and maids of Rome danced in the fields to the sound of instruments. They would then gather green boughs, and while dancing carry them back to the city, where every house was to be adorned with the spoil. The parents and friends of the young people awaited them in the streets, and tables laden with viands stood prepared for the feast, after which songs and dances began anew. Primitive art effected here a fellow-feeling between all classes; patricians, functionaries, and plebeians, united by one universal sentiment of joy and gratitude, decked themselves in brave green leaves, and formed one family.
With the decadence of Greece all arts sought a refuge in Rome, where manners softened, and music and the dance came into high favour. In solemn processions the magistrates appeared in their robes, and women danced before the statue of Cybele. Athletic exercises and dances were the material of every rural feast, such as the Agonalia, founded by Numa in honour of Janus; the Lupercalia, a festival instituted in memory of the she-wolf who preserved Romulus and Remus; the Palilia, or feast of the goddess of the shepherds, celebrated by the shepherds in the fields. They feasted and danced round fires made with straw and chaff. It is thought that originally this was done to ward off dangers.
The subject of dancing among savage tribes is so very exhaustive that it would require a volume of its own if treated adequately, and it can only be faintly indicated in this chapter. However strange some of the dancing customs of savages may appear to us, they are not consequently to be condemned. The advance of civilisation tends to weaken the picturesque aspect of life and to reduce everything to a smooth uniformity. Old rites are everywhere fast vanishing, without leaving a trace behind, and when this applies to the dances of savage peoples their disappearance is all the more to be deplored. For it is my firm belief, as I have already explained in the introduction, that all dances were originally a form of worship, and thereforeF 0100 66 the dance of the savage has great significance as an indication of his primitive religion. Where we can clearly prove that the dance has a purely secular character, we may conclude that the race possessing such a dance has outgrown its very primitive history.
The ceremony has additional solemnity in Abyssinia, where, upon the death of a man of rank and influence, twelve judges, generally old men between sixty and seventy years of age, perform a funeral dance. In most dances of this class masks are worn, and it is curious to note that in Europe, until quite recent times, masks were usual at dances.
Furst iij yoman waiters to beir iij torchies to light them into the hall, and when the saide Disguisars ar comyn into the hall than the said parsonnes that berith the saide lightes to make their obeysaunce and depart, or ellis to stand on side, and the iiij minstrallis such as the Lord hath at that time, there to stande in the hall before the disguisars come, and as soon as they come the minstrallis to stand aside and play. And then the disguisars to make their obeysaunce altogeder and daunce. And when the disguisars hath doon their daunces than stand up on the one side and upon the other, if there be no women. Provided always that their women be disguised, then they to come in first. And if the women be disguised then half of the minstrallis to set in the other disguisars with the lights after they have brought in the women and they have daunced, made obeysaunce and stande aside. And they do as the others did before and then stand upon the other side. The men always give the women the first position. The minstrallis always shall bring them in playing the dances to be danced. When they have done in like case the Morris to come in incontinent as appointed. And when they here the said minstrallis play than to come out one after another, as appointed. And when they have done to go forth in like case as they came into the saide toure, or thing devised for them. Always reservid to the master of the disguisings to order it as he shall think best and convenient; and when the Moris is doone then the gentillmen to come unto the women and make their obeisaunce and every of them to taike one by hand and daunce such base daunees as is appointed them; and that doon then to daunce such rounds as shall be appointed them to daunce togerder by the master of the revills, and that doone to bring the women to their plaices again, and make their obeysaunces, and then depart to their oune plaices where they stood before.
Agnis Tompson brought before the King confessed to going with a number of witches, two hundred, by sea, drinking by the way, to the Church of North Barrick in Lowthian, where they landed, tooke hands, and danced this reill or short daunce, singing with one voice:
It was the common dance at the Kirn, or feast of cutting down the grain, and was always danced with peculiar glee by the reapers of that farm where the harvest was first finished in any district. On such occasions they danced on an eminence, in the view of the reapers in their vicinity, to the music of the Lowland bagpipe, commencing the dance with three loud shouts of triumph, and thrice tossing up their hooks in the air. The intervals of labour during harvest were often occupied by dancing the Ring, to the music of the piper who formerly attended the reapers.
The dance is descended from the Pyrrhica Saltatio of the Romans, the military dance of their Salii or Priests of Mars, and their dance in its turn probably came from the Greeks.1 It has long been practised among the Highlanders under the name of Killie-Kallum (or Ghillie-Callum). According to Olaus Magnus, it travelled from Orkney and Shetland to Norway, where it became very popular. Tacitus mentions it among the ancient Germans, who danced unclad amidst drawn swords and spears with great dexterity and grace.2 A century ago it was still practised in North Germany. In the Far East, too, we find it: it is common in Tibet, and among Bedouin tribes in Syria. There the wife of the sheik stands alone in the middle swinging a sabre rapidly round and round in her hand; from time to time one or another of the men darts forward and pretends to seize her by the hem of her dress. If the woman is awkward, and the man not very agile, a hand or finger is cut off; though these accidents occur frequently, the people are very fond of the amusement. This is very different from the sword dance of the Goths and Swedes described by Olaus Magnus, the latter dance being much more elaborate and not so dangerous. 041b061a72