Country Roads Magazine "Deep South Design" August 2024
NEWS & NOTEWORTHIES
Honoring NOLA architects, kids on sailboats & a new environmental thinktank
28 INNOVATION IS OUR TRADITION
Two projects address modern day challenges in South Louisiana architectural design by Adam H. Ortego
7
Octavio Nuiry
THE TRAINWRECK INN
A new, Wes Anderson-inspired ode to historic hospitality opens its doors in Grand Coteau by Ashley Hinson
On the Cover
THE HOME IN HIDDEN HILLS
Photo by Andrew Welch
On the banks of the picturesque Hidden Hills Lake in rural Arnaudville, this custom home by emerymcclure architecture easily draws the eye of passing boaters and fishermen. Stunning and full of intrigue of its own accord, the home is also representative of Louisiana’s ongoing legacy of adaptation and innovation in home design. Just as our ancestors adapted their traditional Acadian, French, Spanish, Indigenous, Haitian, and African building methods to the hot, humid, storm-prone world of South Louisiana—now contemporary designers must contend with the challenges of the modern day, building a more energy efficient, better quality-of-life future. In this “Deep South Design” issue, part of that innovation is literally bringing the past into the future through creative restorations and renovations, and by utilizing the wisdom our predecessors gained through their own trial and error building on this swampy landscape we call home. As Adam Ortego puts it in his article “Innovation is Our Tradition” on page 28, “It is adaptation—improving upon our traditions—that will help us embody the resilience needed to sustain life in this region for the century ahead.”
BAMBINO’S BURGERS
The burger joint reviving Wormser’s by Shanna Dickens
Mimi Greenwood Knight
Whiskey Properties are powering preservation and hospitality with renewable energy by Cheré Coen
Publisher James Fox-Smith
Associate Publisher Ashley Fox-Smith
Managing Editor Jordan LaHaye Fontenot
Interim Arts & Entertainment Editor Sophie Nau
Creative Director Kourtney Zimmerman
Contributors:
Cheré Coen, Jess Cole, Shanna Dickens, Mimi Greenwood Knight, Ashley Hinson, David Houston, Chris Jay, Paul Kieu, Nikki Krieg, Austin Krieger, Samantha E. Krieger, Octavio Nuiry, Adam H. Ortego, Chris Turner-Neal, Andrew Welch
not necessarily reflect the views of the publisher, nor do they constitute an endorsement of products or services herein. Country Roads magazine retains the right to refuse any advertisement. Country Roads cannot be responsible for delays in subscription deliveries due to U.S. Post Office handling of third-class mail.
Reflections
FROM THE PUBLISHER
During summertime, our three dogs—faithful guardians of whom I am usually, but not currently, very fond—would rather be under the house. A raised dogtrot cottage built around 1890, our house rests on brick piers about three feet tall. These piers raise it high enough to let breezes circulate beneath, a clever innovation which, like high ceilings and double-hung windows that open at the top to let warm air escape, are among the hot climate design adaptations you can read about in Adam Ortego’s terrific article “In Louisiana, Innovation is Our Tradition,” which begins on page 28. Of course, a dark, dusty, three-foot-high space represents an irresistible lair if one is, say, a sixty-pound labrador-chow-pit mix, an overfed redheeler-meets-wiener-dog with short dog syndrome, or a catahoula/border collie mix with a vendetta against mail carriers. From the moment the weather warms in spring until the first October chill, these crossbred co-conspirators retire to their subterranean kingdom to lurk in dust wallows, luxuriate in relative cool as the refrigerated air we pay to pump into the house sinks through the floorboards, and
wait for the next unsuspecting mailman or Amazon delivery driver to happen by. This sensible behavior confirms the wisdom of the old song about only mad dogs and Englishmen going out in the midday sun, and also explains why their general status as “outside dogs” is unlikely to change anytime soon.
Unlike the dogs, I detest going under the house. As a fifty-something man with a dodgy back and a tendency towards claustrophobia, I avoid it under all but dire circumstances. But during the hottest part of July we started hearing ominous thumping, dragging noises suggesting something large (and clumsy) making itself at home inside the balloon-framed walls, which, being open from floor to ceiling (another cooling innovation), are apparently irresistible to any creature willing to challenge the dogs for access. These noises waxed and waned for a while until one hot afternoon they escalated into what sounded like fullscale battle. From beneath the house came volleys of thumps, clangs, and frenzied outbursts of growling, scrabbling, and eventually, yelps and squealing that suggested that the dogs had gone to war against something larger and better armed than your standard-issue house mouse. The noises subsided after a while, so I still wouldn’t have gone to investigate had it not dawned on us afterwards that the air conditioning was working even
less well than usual. When I reluctantly poked my head under the porch, a gust of deliciously chilled air suggested that my trip into the underworld was only just getting started. After an interminable period of commando-crawling around accompanied by much swearing, I learned the dismal truth. Like me, the dogs had noticed evidence of an intruder—in this case a possum, which had unwisely chosen to take up residence inside a bedroom wall. Unlike me, the dogs had decided to do something about it. In their frenzy to drag the panicked creature from its hiding place, one or more of them had apparently wedged itself up inside the wall, utilizing the conveniently located air-conditioning ductwork for purchase. Since air-conditioning ductwork isn’t really designed to serve as climbing equipment for a berserk, sixty-pound labrador, it had understandably collapsed. The
dogs, having succeeded in evicting the possum, (bits of which were now scattered messily around the backyard), while also centrally air-conditioning their hideout, were looking pleased with their handiwork. I was less so, since the resulting repairs were to rob me of what remained of my weekend. Besides figuring out how to replace damaged ductwork, the other, more distressing fact I learned during my trip into the underworld was that air conditioning a raised house built entirely of wood is a great way of rotting century-old, heart pine floorboards. Certainly, my wife’s forebears who built this house knew a lot about building for a hot climate, but they couldn’t have anticipated how far our expectations for comfort might have come a century down the road. If anyone knows of solutions or resources for limiting or preventing floor damage resulting from air conditioning condensation, please let me know. If not, perhaps that’s an article for a future “Deep South Design” issue of Country Roads.
—James
Fox-Smith, publisher james@countryroadsmag.com
The Seven Brothers Oak
In the same way that a picture can be said to paint a thousand words, the landscape of a place reveals stories of the myriad ways in which humans and nature have interacted and evolved through the centuries. In Louisiana, no landscape marker is intertwined more deeply with our collective history than the majestic live oak tree. These ancient sentinels have borne witness to generations of change, silently marking the passage of time beneath sprawling branches and venerable strength. One such tree, steeped in local lore, is the Seven Brothers Oak, or Lastrapes Oak, in Washington, Louisiana.
The story of the Seven Brothers Oak begins with Jean Henri Lastrapes, a cotton planter who, in the late eighteenth century, purchased the land still known as the Lastrapes family homestead today. Here, the Seven Brothers Oak has flourished for
more than two hundred years. Various versions of the tree’s origin story have been recounted over the years. The most popular suggests that the birth of Lastrapes’ seventh son inspired him to plant seven oak trees—one to honor each son. However, as this idea dawned on him late in the day, he directed workers to temporarily plant the seven saplings in a single hole. Amid the busy routine of plantation life, the replanting task was forgotten and the saplings took root, growing into a single, massive oak with multiple trunks. Another, more romanticized tale claims the tree was named for seven Lastrapes brothers who went to fight in the Civil War, though historical records do not support this story.
While such tales may not be factually accurate, they illustrate our urge to attach deeper meaning to these trees—to see them as symbols of resilience
and continuity. During the Civil War, as familiar ways of life in the South were upended, the steadfast live oaks remained. The Seven Brothers Oak, with its multiple trunks growing together as one, stands as a testament to this continuity. Gazing into its canopy we connect nature and history, discerning a realm in which our heritage is intertwined with that of these ancient trees.
The allure of Southern live oaks comes not only from their strength and longevity but also from the stories they embody. The Seven Brothers Oak is a living monument to a family’s legacy, a historical landmark, and a symbol of endurance rising above Louisiana’s fast-changing landscape. This tree underscores the importance of maintaining and caring for our live oaks— keepers of the stories that define us.
An Unprecedented Year of Achievement for New Orleans Architects
THIS YEAR’S AIA DESIGN AWARDS WENT TO LOUISIANA-BASED PROJECTS, SMALL WOMEN-LED FIRMS, AND HISTORIC RENOVATIONS
July 11 was a night of celebration for the New Orleans chapter of the American Institute of Architects (AIA). The organization’s 2024 Design Awards brought architects, designers, engineers, and contractors to Generations Hall to celebrate the best design work from teams across the city.
The New Orleans chapter of the AIA was founded in 1909 and since then has promoted architecture as an essential component of New Orleans culture, with a focus on sustainability and equity. While the annual awards always honor projects of exceptional innovation, “this year was very different,” said Amber Wallace Howell, the AIA New Orleans Executive Director. Eligible projects can be anywhere in the world as long as the firm is based in New Orleans, but this year 95% of the winning projects were in Louisiana. Smaller firms also received a
Come Sail Away
lot of love, with nine out of the eighteen awards going to firms with fewer than ten architects on their team. In addition, this year’s awards paid particular attention to the historical architecture of New Orleans, with sixteen of them going to historical renovation and adaptive reuse constructions.
“That was really a big surprise and kind of heartwarming because you know, we’re an old city. It was good to see we were given some love there,” Howell said.
The Soul Honor Award, the highest honor of the night, went to the renovation of the Seignouret-Brulatour House and Tricentennial Wing gallery addition as part of the New Orleans Historical Society building, which is the first building in the French Quarter to become LEED-certified (Leadership in Energy and Environmental Design), and one of the oldest in the country
awarded that certification.
“It’s a beautiful adaptive reuse of a building that dates back to the 1800s,” Howell said, noting the challenge of implementing energy-saving design in a neighborhood as old as the French Quarter.
Studio Kiro took home the People’s Choice Award for its revitalization of the legendary music venue and hotel, the Dew Drop Inn. The renovation keeps alive the club’s iconic past as a music and cultural hotspot with an event space, pool hall, brunch series, and stylish rooms.
The fact that 40% of the awards went to women-led architecture firms also made for a milestone year. “It was just a really cool, different, interesting night. It all came together really beautifully,” Howell said.
aianeworleans.org
A NEW PROGRAM WITH THE PELICAN YACHT CLUB IS GETTING KIDS OUT ON THE WATER THIS SUMMER
TSophie Nau
ouring the British Virgin Islands, exploring ancient histories off the coasts of Turkey and Greece, navigating the stars: those are just a few of the adventures that sailors, educators, and best friends Roger Seals and Louis J. Thibodeaux experienced together on the water. At the inaugural The Louis J. Thibodeaux Pelican Yacht Club Youth Sailing Program’s launch this summer, Seals is hoping to help young learners catch the yachting bug, too.
Founded in honor of Thibodeaux, who passed away in 2020, the Youth Sailing Program is the first of its kind in False River, providing week-long camps for youth ages eight to seventeen. Thanks to a grant from the Boo Grigsby Foundation, which funds charitable organizations in Louisiana, the camp was offered at no cost to students, providing lunch, textbooks, and PFDs (personal floating devices). And the boats? The camp utilised Optimist Prams, a Daysailer, and a Sunfish “to introduce youths to handling a jib and functioning as a team,” Seals said.
For Seals, who spent almost thirty-five years teaching at LSU, sailing is an around-the-world ticket, and he hopes that campers will be inspired to pick up sailing not only as a sport but as a vehicle for lifelong learning and adventure. “A lot of sports that kids get involved in, they do during the high school years, maybe a few in college, and that’s it,” he said. “This is a lifelong activity. It engages you physically. It engages you mentally.”
Given that Seals had to increase enrollment for both sessions, which both sold out, it seems kids are excited to step into the helm. Seals also acknowledges the barriers for entry that sailing can have, and aims to target underserved communities for the opportunity.
In early June, four of Thibodeaux’s great-grandchildren tested out the Optimist Prams on False River as a semi-official camp kick-off. In this vein, the Youth Sailing Program is already infused with the spirit of Thibodeaux, who taught his children and grandchildren to sail.
—Sophie Nau
Michele McLindon, daughter of Pelican Yacht Club founder Louis J. Thibodeaux, coaches summer sailing camp participants learning how to bail out a sailboat.
Building Levity
A NEW SUSTAINABILITY THINK TANK IN ARNAUDVILLE IS LAUNCHING GROUND-UP WITH THE HELP OF ULL’S BUILDING INSTITUTE
Charles Chaisson had been dreaming of tornadoes— sudden, destructive, and increasing in frequency in his native New Orleans. “When people are afraid, it can go a lot of different ways,” he said. “There can be a positive response or a negative response. And I think I would like my fears to help me try to work with other people to do some good things.”
Chaisson, an illustrator who has worked in New York and New Orleans, took an activist response. He created Levity, a nonprofit sustainability research think tank and campground to be set on five acres in Arnaudville. At the incubator and research center, Chaisson’s hope is to bring together artists, scientists, and innovators in spaces designed with sustainability in mind.
The first step to making Levity a reality will be building out the space, and that’s where Geoff Gjertson and the University of Louisiana at Lafayette’s Building Institute come in. The Building Institute has developed numerous projects focused on sustainability and cultural preservation in Louisiana. One such project was the 2022 HOUSEofCARDS, created for the Honey Locust artist retreat in Arnaudville, where Chaisson was a resident. He asked Gjertson if he’d be interested in collaborating, and soon enough, like a growing number of artists attracted to the Louisiana prairie, Chaisson moved full time to Arnaudville.
Collaborating with Levity fits into the ethos of the Institute, which Gjertson has helped run since 2003. The program requires architecture students to take a hands-on approach to implementing real world projects.
“To really know how to design something, you have to know how to make it,” Gjertson said, echoing Frank Lloyd Wright’s philosophy. At the Building Institute, students learn construction, logistics, and management, and perhaps most importantly, the necessary collaboration that makes for successful work. “Really
no architect ever does anything on their own. Nothing is built by one person,” Gjertson said.
The Building Institute’s third year students will get together this fall for a “charette,” or workshop to brainstorm ideas for the project’s master plan, and then start construction with subcontractors in the spring. Sustainability will be at the core of Levity. The team is considering using materials like recycled polymer and ways to best utilize “gray” water, or lightly used water that can be repurposed. Chiasson notes the synergy with other nonprofits in the area, such as the Acadiana Native Plant Project, which focuses on the ecological health of water and revitalizing the prairie. There’s also Les Deux Bayou STEAM Park, a sister nonprofit to Levity that will facilitate the campground and outdoor entertainment on the property.
While the partnership between Levity and the Building Institute is built on a mutual desire for sustainability and innovation to combat climate uncertainty, at its core is optimism.
“I’m really just excited to get people from different backgrounds together to collaborate and see what they come up with and co-create,” Chaisson said.
Chaisson chose the name “Levity” from his family’s ability to find joy during hard times. When Chaisson would visit his family in Lafayette, “I would just laugh so much, that hearty laugh where you’re in tears. We need lightheartedness and we need laughter to help us get through challenging times … as a society we’re kind of in a very challenging point in time and space, and I think there needs to be some lightheartedness and joy in how we create new systems to survive it, adapt to it.”
Gjertson echoed Chiasson’s enthusiasm: “That’s one of the exciting things about [this project], is that he is so optimistic.”
—Sophie Nau
The 2022 Building Institute project, HOUSEofCARDS. Photo by Paul Kieu.
SATURDAY, November 9th
A day-long champagne and barbecue bonanza at North Commerce in historic downtown St. Francisville. Featuring live fire cooking stations helmed by the Gulf South’s finest barbecue masters, a bottomless champagne bar, local craft beers and live entertainment.
Events
DON'T SWEAT IT, THE MUSIC WILL KEEP YOU COOL, PLUS LIVE THEATRE, HARVEST FESTIVALS, FILM, AND LOADS OF (INDOOR) ART TO EXPLORE • AUGUST 2024
HOT, Y'ALL!
A Crescent City summertime tradition returns! On the weekend of August 3–4, Satchmo Summerfest celebrates the groundbreaking legacy of jazz trumpeter Louis Armstrong, presenting a weekend-filling roster of performances by contemporary New Orleans musicians representing multiple genres. The band lineup reads like a who's-who of traditional and contemporary jazz and brass bands, including the Preservation Hall Brass Band, Big Chief Donald Harrison with the ICONS, and the Tremé Brass Band
UNTIL OCT 13th
ART EXHIBIT
"CHERISHED: THE ART OF CLEMENTINE HUNTER" Baton Rouge, Louisiana
Forty pieces by renowned Louisiana folk artist, Clementine Hunter, are gathered at LSU Museum of Art in a solo exhibition for the first time since 1971. Visitors will see the scope of Hunter's output, including paintings created at Melrose Plantation, where Hunter was born in 1886. A self-taught artist, Hunter's vividly painted work captures the small moments, rituals, and surroundings that made up daily life on the plantation. The show also features oral histories from Hunter's family members. lsumoa.org. 3
UNTIL JAN 19th
HISTORICAL EXHIBIT
"CAPTIVE STATE: LOUISIANA AND THE MAKING OF MASS INCARCERATION" AT HNOC New Orleans, Louisiana
Louisiana’s present-day distinction as the world’s incarceration capital is
rooted in three centuries of history.
Throughout this history, people in power have used systems of enslavement and incarceration to hold others captive for punishment, control, and exploitation— disproportionately affecting Black Louisianans. Through historical objects, textual interpretation, multimedia, and data visualization, the Historic New Orleans Collection's newest exhibition, Captive State: Louisiana and the Making of Mass Incarceration, investigates these throughlines and arrives at an irrefutable truth: that the institutions of slavery and mass incarceration are historically linked. hnoc.org. 3
AUG 1st
LIVE MUSIC
BREWSTER DURBIN AT THE ACA Lafayette, Louisiana
Taking indie rock to new dimensions by experimenting with pop choruses and classic rock precedents, Louisianabased multi-instrumentalist and singer-songwriter Brewster Durbin will
present Rookie: An Album Experience at the Acadiana Center for the Arts as part of its NXT series. This concept album tells the story of an imagined UL Lafayette football player who, in the middle of a record-breaking season, simply disappeared. The performance is cinematic in nature, combining Brewster's songwriting with visuals and storytelling. 7:30 pm. $20. acadianacenterforthearts.org. 3
AUG 1st - AUG 3rd
PIECES & STRINGS
HOTEL CAZAN
QUILTING RETREAT
Mamou, Louisiana
Join quilter and artist Mary Marcotte, owner of Fleur de Lis Quilts and Accessories, at the Hotel Cazan in Mamou for a three-day quilting retreat. She'll teach her "stained glass" technique and an improv applique class. Besides picking up new skills, attendees get to enjoy live Cajun music at Fred's Lounge, a reception at Mou Latte Coffee Shop, and
(above). See page 15. Photo by Cedric Ellsworth.
Events
Beginning August 1st
For anyone who has ever pulled to the side of a two-lane road somewhere in South Louisiana, lured to a little shack by a hand-painted sign reading "fresh shrimp," this one's for you. The Delcambre Shrimp Festival returns from August 14–18. See page 21.
a good time with fellow thread enthusiasts at the cozy and eclectic Hotel Cazan. reservations@hotelcazan.com or (337) 468-5100. marymarcotte.com. 3
AUG 1st - AUG 4th
THEATRE "A STREETCAR NAMED DESIRE"
New Orleans, Louisiana
Tennessee Williams' landmark Pulitzer Prize-winning drama arrives at the Marigny Opera House, performed by the Tennessee Williams Theatre Company of New Orleans. When Mississippi belle Blanche DuBois arrives at her sister's French Quarter apartment, she clashes with her hard-edged brother-in-law Stanley Kowalski. Secrets, sensuality, and big reveals shake up the two-room flat. Will Blanche start her new life in the Big Easy, or be crushed against something brutal and hard? 7:30 pm. $40; $30 under 25 (with ID), $10 Loyola University students. twtheatrenola.com. 3
AUG 1st - AUG 31st
LIVE MUSIC THIS MONTH AT THE RED DRAGON
Baton Rouge, Louisiana
To its modest digs on Florida Boulevard, the Red Dragon Listening Room draws artists who, in terms of their abilities, are anything but. Well-known and emerging songwriters take the stage every month, and with the venue's non-profit status, all money raised goes directly to the artists. Join the rapt audience for one, or all, of the following:
August 1: Rod Macdonald, opened by Andrew Hill, 7 pm. $25.
August 16: Django Walker, opened by Chris Canterbury, 8 pm. $35.
August 28: Marshall Crenshaw Band, 7 pm. $75.
August 29: Adrian Legg, 7 pm. $75. August 31: Paul Thorn at the Manship Theatre, opened by Kristin Diable. 7:30 pm.
(225) 939-7783. Tickets at paypal. me/reddragonlr; mention the artist in the message line. Manship show at manshiptheatre.org. 3
AUG 1st - AUG 31st
TABLES FOR TWO TAMMANY TASTE OF SUMMER Covington, Louisiana
Get a taste of the Northshore during the annual Tammany Taste of Summer. All through August, St. Tammany Parish puts its best plates forward, welcoming foodies in search of summer getaways (or stay-cations) with prix fixe menus at participating restaurants and lavishly catered special events. Enjoy two, three, or four-course meals beginning at $15 at some of the Northshore's most respected dining establishments, including Palmettos on the Bayou (Slidell), The English Tea Room (Covington), Café Lynn (Mandeville), Tchefuncte’s Restaurant (Madisonville), Gallagher’s Grill, Pat Gallagher’s 527, and Gallagher’s on Front Street, among others. Plenty of local B&Bs and hotels offer an extra dose of local charm as well as a good night's sleep, too. tammanytaste.com. 3
AUG 1st - AUG 31st
VISUAL ART "SANDRA LANCLOS— TRANSFORMING EVERYDAY INTO EXTRAORDINARY" Arnaudville, Louisiana
The late local art educator Sandra Lanclos inspired countless creative minds in Acadiana over the course of her life. Almost a year since her passing, this
Events
Beginning August 2nd - August 3rd
exhibition at NUNU Arts & Culture
Collective honors that contribution by showcasing her work, a craft of repurposing discards and transforming them into something beautiful. Alongside the exhibition, NUNU is launching a new program called Young at HeART, fostering intergenerational art education opportunities within the creative community through collaborative sessions, workshops every Saturday from 10 am–noon, and a showcase exhibition at the end of the month. nunucollective.org. 3
AUG 2nd
LIVE MUSIC
THE RIVERGRASS SESSIONS: KODY NORRIS SHOW
Covington, Louisiana
Inspired by the traditional folk music of Bill Monroe, Jimmy Martin, and the Stanley Brothers, Tennessee native Kody Norris brings his top-notch picking and high-energy entertaining to the Fuhrmann stage for the premiere of the Northshore Traditional Music Society's Rivergrass Sessions concert series, which
is dedicated to the timeless melodies of bluegrass music. 6:30 pm–8:30 pm. $15–$35. bontempstix.com. 3
AUG 2nd
LIVE MUSIC
THE MUSIC OF LED ZEPPELIN AT THE HEYMANN
Lafayette, Louisiana
In an all-too-satisfying merging of rock and roll and classical music, the Acadiana Symphony Orchestra, alongside rock band Zebra, will perform "The Music of Led Zeppelin: at the Heymann Center. 8 pm. $66. heymanncenter.com. 3
AUG
2nd - AUG 29th
ART EXHIBIT
HAMMOND ART GUILD JUDGED EXHIBITION
Hammond, Louisiana
For sixty-two years, this annual judged exhibition at the Hammond Regional Arts Center continues the Hammond Art Guild's tradition of showcasing art by some of the most talented creatives on the Northshore. Pieces range from paintings,
messy
drawings, sculpture, jewelry, and more, with many available for purchase. This year's judge is Carol Jane Myers, a retired art educator. hammondarts.org. 3
AUG
2nd - AUG 30th
LIVE MUSIC
TIPITINA'S CONCERT SCHEDULE
New Orleans, Louisiana
The famous Tchoupitoulas Street venue continues bringing a wide variety of New Orleans' favorite musical acts to Professor Longhair's legendary stage. Here's what's coming this month:
August 2: Free Concert Friday–New Orleans Suspects and Vegas Cola.
Doors 8 pm, show 9 pm.
August 3: An Evening With IKO Allstars. Doors 8 pm, show 9 pm.
August 4: Fais Do-Do With Bruce Daigrepont Cajun Band.
Doors 4:45 pm, show 5:15 pm.
August 8: Charles Wesley Godwin.
Doors 7 pm, show 8 pm.
August 9: Free Concert Friday–Soul
Project NOLA and Very Cherry.
Doors 8 pm, show 9 pm.
August 16: Free Concert Friday–Billy Iuso and Pocket Chocolate.
Doors 8 pm, show 9 pm.
August 17: Jon Cleary & The Absolute
Monster Gentlemen.
Doors 7:30 pm, show 8:30 pm
August 21: Russel Crowe's Indoor Garden Party, The Gentlemen Barbers, and Lorraine O'Reilly.
Doors 7 pm, show 8 pm.
August 23: Free Concert Friday–Steve Kelly and Slugger.
Doors 8 pm, show 9 pm.
August 24: Raw Deal Presents "A Tribute to Earth, Wind & Fire".
Doors 8 pm, show 9 pm.
August 30: Free Concert Friday–The Quickening and All That.
Doors 8 pm, show 9 pm.
Ticket prices at tipitinas.com. 3
AUG 2nd - AUG 30th
GOOD VIBES
LIVE MUSIC AT THE MANOR
Natchez, Mississippi
Mosey down to Franklin Street any Friday night to get your fill of live tunes at the Natchez Manor. Free. 7–11 pm. natchezmanor.com. 3
AUG
3rd
VISUAL ARTS
FIRST SATURDAY ARTS MARKET
Lafayette, Louisiana
Meet the artists at the Lafayette Art
For life’s moments, big and small. We’re here with the strength of the cross, the protection of the shield. The Right Card. The Right Care.
AUG 3rd
FESTIVE FLAVOR
DONALDSONVILLE WING FEST
Donaldsonville, Louisiana
Take flight to Crescent Park this weekend to make the most of Wing Fest, hosted by the Donaldsonville Area Chamber of Commerce. There will be competitions, live music by Lil Wayne & the same Ol' 2 Step, tastings, and flocks of wings, flying from grills into visitors' waiting hands. Competition begins at 1 pm; music from 6 pm–9 pm. (225) 473-4814. visitlasweetspot.com. 3
AUG 3rd
CREATIVE COMMUNITY
BATON ROUGE ARTS MARKET
Baton Rouge, Louisiana
Association Gallery the first Saturday of every month, when local creatives come together to share work at a special indoor and outdoor market and gift shop featuring artist demos and more. 10 am–2 pm. Free. lafayetteart.org . 3
AUG 3rd
ART CRAWL
WHITE LINEN NIGHT
New Orleans, Louisiana
The New Orleans Arts District brings back its popular White Linen Night, transforming Julia Street's 300-600 blocks into one massive art party, with live music, cuisine and cocktails, and over twenty exhibition openings in galleries and museums throughout the Warehouse Arts District. Admission to the block party and art openings, held from 5 pm–10 pm, is free and cocktails and cuisine will be available for sale along Julia Street. Deck yourself out in your cleanest, chicest whites—and maybe put a tide pen in your purse. Find the full roster of participating galleries at artsdistrictneworleans.com. 3
AUG 3rd
CREATIVE COMMUNITY
SUGARLAND MUSIC & ARTS FEST
Napoleonville, Louisiana
The Assumption Foundation for the Arts—an initiative to support musicians, visual, and performing arts in the parish—will stage a full day of lively musical and creative entertainment at the Assumption Parish Community Center. Expect local bands, student musician groups, poetry, and more, plus a pop-up art gallery featuring local artists. Plenty of food vendors, cold beer, and other refreshments available; and a family zone for the kids. 10 am–10 pm. Free. sugarlandfest.org. 3
On the first Saturday of the month, artists from Louisiana, Mississippi, Texas, and Florida present original works of art in a variety of media including pottery, jewelry, woodwork, textiles, photographs, glass, paintings, sculpture, hand-made soaps, and so much more—all in downtown Baton Rouge. Performances will liven this long-running tradition, elevating the artwork on display. Don't leave the kids at home; a children's activity center operates from 8 am to noon. Held alongside the weekly Red Stick Farmers Market from 8 am–noon at the corner of 5th and Main streets. Free. artsbr.org. 3
AUG 3rd - AUG 4th
FOOD FEST
RED STICK FLAVOR FESTIVAL
Baton Rouge, Louisiana
How better to showcase a community's culinary entrepreneurship than by celebrating its food truck scene? Head to 3745 Choctaw Drive for an event designed with family feasting in mind: live music, artist pop-ups, a kids' zone, a health fair, and a veritable traffic jam of the best local eats on wheels. 11:30 am–7:30 pm each day. $20 Saturday; $30 for all weekend. redstickflavorfest.com. 3
AUG 3rd - AUG 4th
MUSIC FESTIVAL
SATCHMO SUMMERFEST
New Orleans, Louisiana
The weekend festival dedicated to the legacy of Louis Armstrong presents a huge roster of performances by contemporary New Orleans musicians across multiple genres, paying homage to a musical and cultural legend. Bands read like a who'swho of traditional and contemporary jazz and brass bands—Preservation Brass Band, NOJO 7 featuring Philip Manuel, Big Chief Donald Harrison with the ICONS, John Boutté, and so many more. At the Satchmo Legacy Stage, hear
Visit The Northshore, where the sunshine dances, the music twinkles, easy escapes are shore to be had.
Dress in your whitest and brightest and join the cheerful crowd that throngs the New Orleans Arts District for the long-running August traditional, White Linen Night. August 3.
Events
Beginning August 3rd - August 6th
experts discuss topics such as "Born on the 4th of July: What Independence Day Meant to Louis Armstrong," presented by Country Roads contributor Sam Irwin. There's also children's programming, a Jazz Mass, a second line, and tons of tasty New Orleans food to keep you going. Main stages are located at the New Orleans Jazz Museum, 400 Esplanade Avenue. Daily admission $7 in advance, $10 at the door. satchmosummerfest.org. 3
AUG
3rd - AUG 31st
FANCY FOOTWORK BALLROOM DANCE CLASSES
Baton Rouge, Louisiana
Join Baton Rouge Ballroom's charismatic instructor James Heath to learn the art of country or ballroom dancing at the Lake House Reception Center (12323 Old Hammond Hwy) or 4520 S. Sherwood Boulevard. Here's the schedule for this month:
August 5: Beginner Tango. 6:30 pm–7:30 pm (Lake House location).
August 12: Beginner Salsa. 6:30 pm–7:30 pm (Lake House location).
August 19: Meringue.
6:30 pm–7:30 pm (Lake House location).
Saturdays: Cha Cha.
1:30 pm–2:30 pm (Sherwood location).
Wednesdays: Waltz.
7 pm–8 pm (Sherwood location).
Wednesdays: Country Cha Cha.
8 pm–9 pm (Sherwood location).
$10 per class. (225) 300-3958 or batonrougeballroom.com. 3
AUG 3rd - AUG 31st
ART EXHIBIT
"WATERSCAPES OF THE NORTHSHORE"
New Orleans, Louisiana
Artist/environmentalist Will Smith
Jr. explores the far shores of Lake Pontchartrain in this show opening at Gallery 600 Julia, documenting the disappearing wetlands and a unique way of Louisiana living. Louisiana's Easy Escape, Waterscapes of the Northshore opens with a reception during White Linen Night, 6 pm–9 pm. Gallery hours are Monday–Saturday, 10 am–3:30 pm. gallery600julia.com. 3
AUG 3rd - AUG 31st
FRESH PICKINS
CAMELLIA CITY MARKET
Slidell, Louisiana
Stock up on locally-grown vegetables and fruits, baked goods, meats, eggs, seafood, poultry, preserves, spices, handmade crafts, and more. Plus, mobile brick oven pizza and live music. Every Saturday at Griffith Park from 8 am–noon. (985) 640-7112 or at Camellia City Farmers Market on Facebook. 3
AUG 3rd - AUG 31st
ONSTAGE
LIVE MUSIC AT LAKEVIEW PARK & BEACH
Eunice, Louisiana
The perfect escape into the wonderful wilderness of Cajun Country, Lakeview Park & Beach is a favorite among visitors and locals alike. Here are les bons temps of the summer:
August 3: Chris Himel Duo, 5 pm
August 10: Julian Primeaux, 5 pm
August 17: Chris Breaux Trio, 5 pm
August 24: Zach Edwards Trio, 5 pm
August 31: One Trick Pony, 8 pm
Free to get in if you're camping; $10 if you're not. lvpark.com 3
AUG 3rd - OCT 13th
ART EXHIBIT
LOUISIANA CONTEMPORARY
New Orleans, Louisiana
The Ogden Museum of Southern Art unveils its annual, statewide, juried exhibition, Louisiana Contemporary, curated this year by Lauren Haynes, Head Curator of Governors Island Arts and Vice President for Arts and Culture at the Trust for Governors Island. This comprehensive exhibit features works by thirty-seven Louisiana artists selected from among more than one thousand submissions in a showcase of contemporary art practices in the region. ogdenmuseum.org. 3
AUG 4th
HANDS-ON BEHIND BARN DOORS
Port Allen, Louisiana
Th e first Sunday of every month, learn a hist oric artisanal skill at the West Baton Rouge Museum. This month's session will present blacksmithing with Ben Deshotels, tinkering with Gary Hart, and tatting with Christy Benoit Castille, all set amid the charming ambiance of WBR's Big Red Barn. 2 pm–5 pm. Free. westbatonrougemuseum.org. 3
AUG 4th - SEP 1st
LIVE MUSIC
CAJUN AND ZYDECO JAM AT BAYOU TECHE BREWING
Arnaudville, Louisiana
Summer Sundays lure musicians to the banks of Bayou Teche—where craft beer flows to the tune of Cajun and Zydeco music. Come to Bayou Teche Brewing for front porch jams, wood-fired pizza, and eco-friendly microbrews made with local ingredients. Bring your own instrument and your dancing shoes, and join in. Zydeco from 11 am–1 pm, Cajun from 2pm–5 pm. Free. bayoutechebrewing.com. 3
AUG 4th - SEP 1st
COTTAGE INDUSTRY
CLAIBORNE PLACE MAKERS MARKET
Covington, Louisiana
On any given Sunday, stop by Covington's Claiborne Place mall to stock up on handmade pantry goodies and locally-made artisan products. Find everything from beef jerky and satsuma honey to bonsai trees, Voodoo dolls, and alligator leather goods. 10 am–2 pm. Free. Details at the Claiborne Place Makers Market Facebook Page. 3
AUG 5th
GOOD EATS
RED BEANS 'N' RICE COOK-OFF
Covington, Louisiana
United Way celebrates the hallowed tradition of red beans on Monday at its annual all-you-can-eat Red Beans ‘N’ Rice Cook-Off. The event marks the official kick-off of the organization's St. Tammany Parish fundraising campaign. Proceeds support suicide prevention, mental health services, and other programs offered by United Way on the Northshore. So come gorge yourself for a good cause! 11 am–2 pm at the Greater Covington Center, 317 Jefferson Avenue. $10 for all-you-can-eat red beans. unitedwaysela.org. 3
AUG 6th
LIVE MUSIC
GROCERY BAG, MIND KONTROL & BETTER LATE THAN NEVER
Baton Rouge, Louisiana
Austin-based psych garage band Grocery Bag takes the stage at Mid City Ballroom, with support from Baton Rouge bands Mind Kontrol and Better Late Than Never for a late night show at one of Baton Rouge's liveliest venues. 8 pm. $10 in advance, $15 at the door. bontempstix.com. 3
AUG 6th - AUG 24th
LIVE MUSIC
LIVE AT BLUE MOON SALOON Lafayette, Louisiana
For over twenty years now, the Blue Moon Saloon has reigned as one of Acadiana's premiere locations for roots music, dancehall and all. A true homegrown honky tonk, the saloon is located on the outskirts of downtown district, and hosts performances of traveling and local musicians almost every weekend, and plenty during the weekdays, too. Here's what's coming up:
August 6: The Groove Room, 8 pm.
August 9: Summerfest: Jay Da Wizard & Friends, 8 pm. $10 for guys; $5 for ladies. August 10: Genuine Mustard, with Nana Grizol and Faustina. 8 pm.
August 23: Back to School Party— Zach Edwards and the Medicine with Hollyrock. 8 pm.
August 24: Amis du Teche. 8 pm. bluemoonpresents.com. 3
AUG
6th - AUG 27th
SPEAKING IN TONGUES TABLE FRANÇAISE AT TANTE MARIE'S
Breaux Bridge, Louisiana
Pratiquez votre français chez Tante Marie ! Whether you can read that or not, the Teche Center for the Art's French
The Ogden Museum of Southern Art's 2024 Louisiana Contemporary exhibition presents works by thirty-seven Louisiana artists chosen from amongst more than 1000 submissions. Among them is On the Beach with Lemons—a photographic print by Trenity Thomas. August 3–October 13.
Events
Beginning August 6th - 10th
Table invites you to Tante Marie's each Tuesday from 5:30 pm–7 pm to practice, and speak, French. All levels welcome. Each class is led by Quebec native and Breaux Bridge local Ms. Ray "Cana-Jun" Cloutier. 107 N. Main. techecenterforthearts.com or (337) 442-6354. 3
AUG 6th - AUG 27th
ART CLASS LIFE DRAWING STUDIO
Covington, Louisiana
Interested in exploring the art of life drawing? Then join a laid back group of arts enthusiasts at the St. Tammany Art Association, who meet each week to draw together, with the freedom to explore outside the classroom format. All levels are welcome. 6:30 pm–9 pm every Tuesday. $20 includes facility, live model, wine, and cheese. Pre-registration and payment required. (504) 812-0973 or lthrart@hotmail.com. sttammany.art. 3
AUG 7th - AUG 21st
BOOKWORMS
VIRTUAL AUTHOR TALK SERIES
Baton Rouge, Louisiana
August brings a new lineup to the Library’s Author Talk Series, presenting three best-selling authors in live virtual events for readers of all levels. Participants get to engage in Q&A sessions and connect with each author directly.
August 7: Dr. Jennifer Levasseur, Curator of the Smithsonian National Air and Space Museum, speaking on the Smithsonian's book Behind the Scenes at the Space Station and offering a virtual tour of the station itself. 1 pm.
August 15: Irena Smith, PhD, a former admissions officer at Stanford University, who will discuss constructive and healthy ways to approach college applications. 1 pm.
August 21: Shelby Van Pelt, bestselling debut author of Remarkably Bright Creatures, a novel about a widow's unlikely friendship with a giant Pacific octopus. 6 pm.
Free. ebrpl.com. 3
AUG 7th - AUG 31st
ART EXHIBIT
"MEDITATION PATTERNS FOR PAIN REDUCTION" BY MATT VIS
Baton Rouge, Louisiana
In this exhibition of photographic collages, artist Matt Vis captures "situational anomalies"—efforts to take the unharmonious and create something orderly. Created during an extended stay in a hospital bed, the works, which present
like optical illusions, were simultaneously an effort to escape the sensation of physical confinement and to create neural pathways through trauma, new paths towards fulfillment. On display at Yes We Cannibal, with an opening reception Saturday, August 10 from 4 pm–8 pm. yeswecannibal.org. 3
AUG 7th - SEP 4th
WHO'RE YOUR PEOPLE
GENEAOLOGY GATHERING AT SAINT-LUC'S
Arnaudville, Louisiana
Take advantage of Saint-Luc Immersion School's collection of oral histories, family records, and cultural artifacts to learn more about your ancestry. On the first Wednesday of each month, budding genealogists convene at Saint-Luc's to share their passion and dive into the archives. 9:30 am–11:30 am. Free. (337) 298-7998. 3
AUG 9th
LIVE MUSIC
NEUTRAL SNAP AT MID CITY BALLROOM
Baton Rouge, Louisiana
Known around Baton Rouge for their ceiling-raising cover renditions of the pop punk/emo classics, Neutral Snap has released several original singles and their first album, Tell Me How I Feel in 2021— touring the Southeast with their hallmark early-2000s sound. See them perform with Dana Ives, Recess Party, and New Visitors at Mid City Ballroom. 9 pm. $10. bontempstix.com. 3
AUG
9th
LOOKING AT ART UNCORKED ART WALK
Sunset, Louisiana
Sip in Sunset with the locals for the Uncorked Art Walk. Galleries along Napoleon Avenue—including Artworks by Ted Bertrand, boho, The Funky Flea, and Jerilyn's Fused Glass Art Gallery— will be open for viewing and shopping, with many artists present to discuss their work. Café Josephine provides wine and hors-d'oeuvres. 6 pm–9 pm. Free. (337) 662-6222. 3
AUG 9th - AUG 11th
MUSIC FESTIVAL
SUNFLOWER RIVER BLUES & GOSPEL FEST
Clarksdale, Mississippi
Each summer for almost forty years, Clarksdale has sung its status as the heart of Blues country—hosting dozens of the
best blues and gospel performers on local stages during the Sunflower River Blues & Gospel Festival. On Friday, set up for an evening of swaying and singing, when the Delta Blues Museum hosts local icons like Lucious Spiller and Terry "Big T" Williams. Saturday morning dawns with acoustics by Pat Thoomas, Kenny Brown, Jimmy "Duck" Holmes, and many more. Then it's on to Morgan Freeman's Ground Zero Blues Club to catch Mississippi Marshall, Bill Abel, and Little Willie Farmer. End your night back at the Main Stage to catch Space Cowboy, Mark Mule Man Massey, and more. On Sunday the festival presents a full day of Gospel performances at the Civil Auditorium, featuring local choirs, John Howell, Darrel Petties, and more. VIP tickets get you in a whole day early, for the Grit, Greens, and BBQ Party on Thursday night, featuring performances by Sean "Bad" Apple, Stan Street & The Hokum Cats, and Heath Sitton. Friday 7 pm–12:15 am; Saturday 10 am–1:30 am; Sunday 3 pm–9:45 pm. Free. sunflowerfest.org for the full lineup. 3
AUG 9th - AUG 12th
FILLUMS
BATON ROUGE IRISH FILM FESTIVAL
Baton Rouge, Louisiana
May the road rise to meet you en route to the Manship Theatre, where the annual Baton Rouge Irish Film Festival speaks to the Celt in all of us. From short films on Friday (6 pm–9:30 pm), to documentary and feature films on Saturday (noon–8 pm), the festival promises plenty of excuses
to romanticize the Emerald Isle. Don't miss the much-anticipated afterparty at Phil Brady's. It starts at 6:30 pm with $2 burgers and a special feature screening. $15. batonrougeirishfilmfestival.com. 3
AUG 9th - AUG 17th
THEATRE "THE ODD COUPLE"
Slidell, Louisiana
It doesn't matter if you're a man or woman—there's a laughably mismatched roommate out there for you. Observe how a sloppy sportswriter and a perfectionist newswriter, both suddenly single, handle it, while attending Cutting Edge Theater's performance of this beloved comedy. 8 pm. $32–$47. cuttingedgetheater.com. 3
AUG 10th
RETAIL THERAPY
SHOP ST. DENIS FEST
Natchitoches, Louisiana
Louisiana's oldest settlement is proving it knows how to party at Shop St. Denis Fest—a block party featuring live music, food trucks, and other local vendors. 10 am–5 pm. Free. natchitoches.com. 3
AUG 10th
HANDS IN DIRT GARDEN DISCOVERIES
Baton Rouge, Louisiana
Intrigued by the concept of native planting and gardening for pollinators but not sure where to begin? Join a workshop
Angela Gregory: Monuments & Architectural Commissions, the third installment in the West Baton Rouge Museum's series of exhibitions exploring the legacy of the Bayou State's influential sculptor, will open in Port Allen August 23. See page 24.
Louisiana’s oldest chartered harvest festival is back this Labor Day Weekend
Do
Travel the Shrimply Delicious Food Trail on the Cajun Coast this August.
Vote on the Best “Shrimply Delicious” Dishes.
Enter to win a VIP Trip to the Louisiana Shrimp & Petroleum Festival and a shrimp boil gift pack.
Events
Beginning August 10th - August 16th
titled "Beyond the Lawn: Cultivating Natural Communities" at the East Baton Rouge Main Library at Goodwood. The program, led by Ashlee Brackeen and Caitlin Robbins of Swamp Fly Native Landscapes, is the latest in the Baton Rouge Botanic Garden Foundation's free "Garden Discoveries" series. Participants will glean insights on how to replace traditional lawns with natural plant communities. Afterwards, all are invited to tour the adjacent Baton Rouge Botanic Gardens. 10 am. Free. Registration at ebrpl.co/calendar, or 225-231-3750. 3
AUG 10th
LOOKING UP
ZACHARY REALLY HOT AIR
BALLOON FESTIVAL
Zachary, Louisiana
This summer stunner isn't all hot air, because alongside the colorful, soaring balloons dazzling spectators and offering tethered rides, you should expect food trucks, live music, artisans and retail vendors, kids' games, bull rides, and other fun.
Noon–9 pm. Free. Visit Zachary Really Hot Air Balloon Festival on Facebook.
AUG 10th
PULL!
CLAY SHOOTING COMPETITION
Denham Springs, Louisiana
Gather a crew and spend a morning getting your eye in at this Clay Shooting fundraiser for the Denham Springs Professional Firefighters Association and Denham Springs Union of Police. Competition begins at 9 am, with a silent auction, raffle, and lunch to follow. At Riverside Sporting Clays. 8 am–4 pm. $600 for teams of four. bontempstix.com. 3
AUG 10th
GREEN THUMBS BONSAI AUCTION & SALE
Harahan, Louisiana
The Greater New Orleans Bonsai Society hosts its annual Bonsai Auction and Plant Sale, when a huge selection of bonsai, starter material, plants and pots go under the hammer. Viewing of trees and plant sale begins at 4 pm; auction from 6 pm–
AUG 10th - AUG 11th
THEATRE "CATFISH MOON" AT CITÉ DES ARTS
Lafayette, Louisiana
Childhood best friends Curley, Gordon, and Frog have are all grown up, but they've each been called back to their old hometown haunt for a fishing trip together. At "Catfish Moon," they confront their pasts, dreams, and enduring bonds. Watch this production by Laddy Sartin, presented by The Allure for Moore Productions at Cité des Arts,
on one weekend only. 6:30 pm Saturday; 5 pm Sunday. $25. citedesarts.org. 3
AUG 10th - AUG 24th
JUST FOR LAUGHS THE DINNER DETECTIVE COMEDY MYSTERY DINNER SHOW
Baton Rouge, Louisiana
America’s largest interactive comedy murder mystery dinner theatre show is
Thousands dress in their coolest to beat the heat while attending White Linen Night—New Orleans's coordinated gallery opening that fans out to encompass dozens of participating galleries on and around Julia Street, in the heart of New Orleans's Arts District on August 3. See page 16. Photo by Ryan Hodgson-Rigsbee
dinner. But beware! The culprit is hiding in plain sight somewhere in the room, and you might even discover yourself to be the prime suspect. 6 pm–9 pm at the Holiday Inn (4848 Constitution Avenue). $60. thedinnerdetective.com. 3
AUG 10th - AUG 25th
THEATRE "THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE"
Mandeville, Louisiana
30 By Ninety Theatre presents the Tony Award-winning musical comedy The 25th Annual Putnam County Spelling Bee. From Rachel Sheinkin's touching book incorporated with the vibrant score of William Finn, this unlikeliest of hit musicals is about the unlikeliest of heroes—a quirky, but charming, cast of outsiders for whom a spelling bee is the one place they can stand out, and fit in. 8 pm Thursdays–Saturdays; 2:30 pm Sundays. 30byninety.com. 3
AUG 11th
CULTURAL FESTIVAL ACADIAN CULTURE DAY
Lafayette, Louisiana
Over 250 years of rich cultural heritage are the focus of Vermilionville's Acadian Culture Day. The event recreates the world of Louisiana's Cajun ancestors
through demonstrations of traditional spinning, quilting, basket weaving, and cooking. Come, and you might find yourselve spinning into a dance lesson, leaning in for a tale told by the best of storytellers, or enjoying live music by local artists. Free admission. 10 am–5 pm. vermilionville.org. 3
AUG 13th
KNOWING NATURE INTRODUCTION TO LOUISIANA WILD MUSHROOMS
Baton Rouge, Louisiana
The latest of LSU Hilltop Arboretum's "Discover Nature" programs, produced in partnership with the Louisiana Master Naturalists of Greater Baton Rouge, welcomes outdoorsman Dr. Steve Antrobus to present a beginner's guide to mushroom foraging. Attendees will learn easy (and safe) ways to distinguish edible mushrooms from poisonous ones, so that you can get to the fun (and delicious) part of Louisiana foraging. $15. lsu.edu/hilltop. 3
AUG 14th
ONSTAGE
AN EVENING WITH ERIC JOHNSON AT MID CITY BALLROOM
Baton Rouge, Louisiana
Making a stop at Mid City Ballroom on his "Straight Up Tones of Blue" tour,
the Grammy Award winning singersongwriter Eric Johnson will perform an intimate set of songs spanning his career. 8 pm. $45 in advance; $50 at the door. BYOB. bontempstix.com. 3
AUG 14th - AUG 15th
CLASSICS, REIMAGINED CONCERTS WITH CANDLES: BEETHOVEN MEETS BEYONCE
Baton Rouge, Louisiana
Baton Rouge Symphony Orchestra presents a fusion Ludwig never could have dreamed of. In the intimate, candle-lit environs of the Virginia and John Noland Black Box Studio at the Cary Saurage Community Arts Center, the old masters meet a very new one. Performances at 6:30 pm and 8:30 pm each night. $30. brso.org. 3
AUG
14th - AUG 18th
HARVEST FESTIVAL
DELCAMBRE SHRIMP FESTIVAL
Delcambre, Louisiana
For anyone who has ever pulled to the side of a two-lane road somewhere in South Louisiana, lured to a little shack by a hand-painted sign reading "fresh shrimp," this one's for you. This Wednesday through Sunday festival offers carnival rides, a firemen water fight, a blessing of the local fleet, and fais-do-dos every
day. Plus live music from local legends the likes of Nicole Marie, Swampland Revival, Jr La Crosse & Sumtin Sneaky, Dustin Sonnier, Dillon Carmichael, DJ Homer Stelly, Cajun Roots, Krossfyre, The Beau Young Band, Jaryd Lane, Chris Cagle, and Ryan Foret & Foret Tradition. Hungry revelers will stuff themselves with shrimp in every conceivable iteration— boiled, fried, piquanted, stuffed. New this year: enjoy the festival by boat. The Twin Parish Port Commission's new North Per Marina is three blocks south of the Festival Grounds. It just makes sense to be on the water. Held at the Shrimp Festival Grounds, 409 East Main Street. $10 gate fee on Friday and Saturday; Free Wednesday, Thursday, and Sunday. shrimpfestival.net. 3
AUG 15th
CHOICE CUTS
CHARCUTERIE CLASS & WINE FLIGHT AT THE RENAISSANCE
Baton Rouge, Louisiana
Join Chef Jason Hebert and Executive Sous Noah Lissard at the Renaissance Hotel for a class teaching the craft of creating the perfect charcuterie board. Choose between a red or white flight of wines to loosen those creative inhibitions. Each ticket includes one board and one flight, and the board goes home with you. 6:30 pm. $75. bontempstix.com. 3
Events
Beginning August 17th - August 23rd
AUG 16th
COMIC RELIEF "JP" PERRY AT CITÉ DES ARTS
Lafayette, Louisiana
Working amid Louisiana's full-contact political sphere builds a thick skin, and if you're fortunate, a top-notch sense of humor. Ask Kaplan-raised comedian Jonathan "JP" Perry about that; he's served as a police officer, city councilman, assistant District Attorney, State Representative, and State Senator. This night, he brings his twenty years of experience laughing it off to the stage at Cité des Arts. 7:30 pm. $25. citedesarts.org. 3
AUG 17th
JUST FOR LAUGHS MID-CITY LIVE! AT CITÉ DES ARTS
Lafayette, Louisiana
The Baton Rouge funny guys and gals of MID-CITY LIVE! bring their comedy variety show to Cité des Arts— featuring standup, skits, and live music performances. 7:30 pm. $35. citedesarts.org. 3
AUG 17th
ART OUTDOORS
COVINGTON WHITE LINEN FOR PUBLIC ART
Covington, Louisiana
Covington's White Linen for Public Art is a community affair which endeavors to brighten up downtown with meaningful works of art. Music, shopping, libations, and art are all on the agenda, and a percentage of local business sales supports the Covington Public Art Fund. Now … what will you wear? 6 pm–9 pm in downtown Covington. facebook.com/covwhitelinen. 3
AUG 22nd
COMMUNITY GIANTS
LUNCHTIME LECTURE: LEEDELL WOODS
Port Allen, Louisiana
A Port Allen native, LeeDell Woods has dedicated his career to improving life in West Baton Rouge Parish. He has served as Parks and Recreation Director, Director of Recreation at the Louisiana School for the Visually Impaired, and led the way in coordinating with local, state, and federal governments to acquire grants to develop too many local landmarks and public amenities to list. He has also been inducted in to the Southern University Sports Hall of Fame and established the only known blind bike team in the
country (it covered more than 2,500 miles without an accident). Hear his story during this special Lunchtime Lecture at the West Baton Rouge Museum. Free. Noon. westbatonrougemuseum.org. 3
AUG 22nd - AUG 25th FESTIVAL
GUEYDAN DUCK FESTIVAL
Gueydan, Louisiana
Before Jean Pierre Gueydan named a town after himself, he lived in Abbeville, thirty miles west of a hunter's paradise that Gueydan visited often. So, can you blame a dyed-in-the-wool hunter for founding a town, bang (excuse the pun) in the middle of all that bounty? That fair-feathered reputation follows the town of Gueydan to 1977, when it earned the official moniker "Duck Capital of America" and launched its annual Duck Festival. All the usual small-town festival fare is available, as are duck-and goosecalling competitions, cook-offs, a parade, skeet shooting competitions, dog trials, pageantry, rides and games, duck carving, and other activities. This year's musical entertainment includes appearances by The Jo-Genes, Mais Oui!, Swampland Revival, Wayne Toups & Zydecajun, Jamie Bergeron & the Kickin' Cajuns, Luke Meaux & Cajun Beat, The Adam Leger Band, Frank Foster, The Casey Peveto Band, Rusty James, Damon Tory, and Geno Delafose & French Rockin' Boogie. Free. duckfestival.org. 3
AUG 23rd - SEP 1st
THEATRE "THE MOUSETRAP" AT SULLIVAN THEATER Central, Louisiana
In the beloved Agatha Christie whodunnit, the suspects—stranded in a boarding house—include bickering newlyweds, a sketchy spinster, an architect who's better at being a chef, a retired Army major, a strange little man with a car problem, and an irritating jurist. As soon as law enforcement arrives, on skis, the jurist—bless his annoying little heart—drops dead. Two down, one to go. Discover the culprit in Sullivan Theater's production of The Mousetrap 7:30 pm Thursday–Saturday; 2 pm Sunday. $25. sullivantheater.com. 3
AUG 23rd - SEP 8th
THEATRE SLIDELL LITTLE THEATRE PRESENTS "THE HUNCHBACK OF NOTRE DAME" Slidell, Louisiana
Join Quasimodo and Esmerelda for the Parisian adventure of a lifetime, featuring all the songs you remember, this time
Events
Beginning August 23rd - August 31st
staged by the Slidell Little Theatre. 8 pm Fridays and Saturdays; 2 pm Sundays. $35. slidelllittletheatre.org. 3
The third installment in West Baton Rouge Museum's exhibition series, Angela Gregory: Doyenne of Louisiana Sculpture, exploring the legacy of the sculptor will be on exhibit through August 2025. Guest curated by Elizabeth Chubbuck Weinstein, the exhibition showcases Gregory's architectural commissions, including those on the Louisiana State Capitol, and her monuments. To interpret Gregory's artisanship and process, the exhibition includes plaster molds, sketches, and finished bronzes. Opening reception on August 23 from 6 pm–8 pm, featuring a sculpting demonstration by artist Aliah James and a reading from Reminiscences of Miss Angela Gregory by Gregory's student, Deborah Luke. westbatonrougemuseum.org. 3
AUG 24th
LITERATURE & LEARNING
AUTHOR TALK AT THE EBRPL
LIBRARY: ALKA JOSHI
Baton Rouge, Louisiana
Welcome bestselling author Alka Joshi to Baton Rouge during a special presentation on the writing process—the inspiration behind her novels, The Henna Artist, The Secret Keeper of Jaipur, and The Perfumist of Paris, and how she creates her captivating characters. Guests get to ask questions and have copies of the books signed. 10 am. Free. ebrpl.com. 3
AUG 28th
ARTS CELEBRATION
CULTURE COLLISION 14
Metairie, Louisiana
Effectively, Culture Collision is an annual, community-wide happy hour, designed to kick off New Orleans's lively cultural season, where the movers and shakers therein can connect and share their projects and talents. The one-nightonly affair presented by the Jefferson Performing Arts Society and WWNO
89.9 FM takes place at the Jefferson Performing Arts Center, and features dozens of performing and visual arts participants, all with diverse and colorful visions for the year to come. The goal: introduce potential audience members, volunteers, patrons, and artists to the galaxy of arts offerings that the city has to offer. Small plates and a cash bar. 5:30 pm–8:30 pm. $50. culturenola.org 3
AUG 29th
LIVE MUSIC
BLACK OPRY REVUE
Baton Rouge, Louisiana
Manship Theatre raises the curtain to reveal the Black Opry Revue, the highly acclaimed concert event that presents talented Black country, Americana, blues, and folk musicians performing songs and sharing stories in a format that celebrates the intersections and the rich diversity that exists within these profoundly American musical genres. Featured artists include rising Nashville star Julie Williams, Texas native Tylar Bryant; Denitia, whose latest album Sunset Drive bridges country, alt rock, and indie influences; Jett Holden, whose debut album The Phoenix was produced by Grammy-nominated Will Hoge, and Leon Timbo, and who delivers Americana and folk influences with smooth vocals
and a captivating stage presence. See them all, playing and storytelling together, on the Manship stage. 7:30 pm. manshiptheatre.org. 3
AUG 29th - SEP 2nd
HARVEST FESTIVAL
SHRIMP AND PETROLEUM FESTIVAL
Morgan City, Louisiana
Booth after booth after booth of unforgettable festival fare serves as the calling card for the long-running Shrimp and Petroleum Festival, which has marked Morgan City as the location for Louisiana's oldest harvest festival every summertime for almost ninety years. That first parade is remembered as a ragtag procession of local frog and alligator hunters, shrimpers, crabbers, and oystermen demonstrating on Labor Day. Famous for its Historic Blessing of the Fleet boat parade, which features decorated shrimp boats, pleasure craft, offshore supply boats, and some of the biggest "muscle" boats of the offshore oil patch, this festival has been rated a top 20 Southeast Tourism Society event. Time magazine described it as "...the best, the most unusual, the most downhome, the most moving and the most fun that the country has to offer." This five-day crustacean celebration is one of Louisiana's oldest harvest festivals, a true
celebration of men and women working in the region's seafood and petroleum industries and the ways they work handin-hand culturally and environmentally. Entertainment includes continuous live music by local and national acts, an arts & crafts show and sale, a children's village, fireworks, a car show, bass & softball tournaments, the huge Cajun Culinary Classic cooking contest, and lots more. Event locations vary, with most of the action centered around downtown Morgan City's Lawrence Park. Free. shrimpandpetroleum.org. 3
AUG 30th - SEP 1st
MUSIC FESTIVAL
5TH ANNUAL BOOKER FEST
Bay St. Louis, Mississippi
James Carrol Booker III, otherwise known as "The Black Liberace," "The Piano Pope," or "The Bayou Maharajah," knew how to have a good time. Remembered for his splashy piano style matched with rigorous technical skill, the New Orleans-born and Bay St. Louis-raised piano legend is honored every year at Booker Fest, taking place over Labor Day Weekend. Join the fun at cultural institution 100 Men Hall, where musical performances will rock along all weekend. Performers include The Lee Boys, Joe Krown Trio+1, Tomar & The FC's, Sierra Green & The Giants, and Rita Brent. Stick around for delicious food, drinks, and a comedy brunch. Event kicks off Friday at 6 pm, Saturday at 1 pm, and Sunday at 11 am. Day pass for Friday and Sunday $30. Day pass for Saturday $75. Weekend pass $110. 100menhall.com. 3
AUG
30th - SEP 6th
MUSICAL
THE ADDAMS FAMILY MUSICAL
New Iberia, Louisiana
The Iberia Performing Arts League brings America's first family of ghastly giddiness to the stage. From the creators of Jersey Boys,
this witty musical brings Gomez, Morticia, Lurch, and the rest. 7 pm Friday–Saturdays; 2 pm Sundays. $22.58. ipaltheater.com. 3
AUG 31st
MUSIC FESTIVAL
SOUTHWEST LOUISIANA
ZYDECO MUSIC FESTIVAL
Opelousas, Louisiana
Smack bang in the middle of Cajun Country, Opelousas again hosts the world's largest Zydeco music festival, celebrating the rich culture of Louisiana Creoles and Cajuns by highlighting, documenting, preserving, and enhancing their fun-loving heritage. Each year for four decades, this festival has taken hold at the Yambilee Ag Arena from 11 am. Music starts at noon, with performances by the best Zydeco artists in the region. $25; $5 for kids twelve and younger. RV parking is $10 per day. cajuntravel.com. 3
AUG 31st
HISTORY & HERITAGE
EMMETT TILL
COMMEMORATION
Glendora, Mississippi
In a program presented by the Emmett Till Interpretive Center, We2Gether Creating Change, the Emmett TillMobley National Monument, and the Racial Reconciliation Task Force of the Episcopal Diocese of Mississippi, a gathering will take place on the 62nd anniversary weekend of Emmett Till's violent and historic murder. The memorial service will begin at 10 am at Graball Landing, where Till's body is believed to have been pulled from the Tallahatchie River, followed by a car procession to the barn near Drew where the murder took place. The service will end with a community luncheon in downtown Drew, beginning at noon. Free. Details at eventbrite.com. 3
For all our August events, including the gobs we couldn’t fit in print, point your phone camera here or visit countryroadsmag. com/events-and-festivals.
Amongst performers gracing Baton Rouge's Manship Theatre stage during August 29th's Black Opry Revue is Denitia, whose album Sunset Drive bridges country, alt rock, and indie influences.
28 HOW LOUISIANA ARCHITECTURE CONTINUES TO ADAPT TO A CHANGING WORLD // 32 THE QUARTER IS ACTUALLY MORE SPANISH THAN FRENCH // 37 SPEND THE NIGHT IN A TRAIN CAR • AUGUST 2024
CONTEMPORARY DESIGN
In Louisiana, Innovation is Our Tradition
TWO PROJECTS THAT ADDRESS MODERN DAY CHALLENGES IN REGIONAL ARCHITECTURAL DESIGN
By Adam H. Ortego,
in consultation with emerymclure architecture
The most documented expressions of Louisiana’s architectural legacy, such as the Old State Capitol building in Baton Rouge and the French Quarter in New Orleans, are marvels of the state’s rich history. However, it is not these collectibles that keep Louisiana in the global dialogue about architecture and design. It is instead the tradition of design innovation that living in the terra viscus (mushy lands) demands. From the ephemeral nomadic dwellings of the region’s indigenous communities to the raised camps of Holly Beach and the historic typologies of the Acadian cottage and the shotgun—the extreme nature of living in
Louisiana has long pushed architectural design forward and continues to do so.
Initially before technology and colonization, the heat, humidity, insects, heavy vegetation, and unpredictable flooding in southern Louisiana prompted its residents to build lightweight, transient, palm-covered dwellings. These could be quickly assembled and disassembled anywhere branches and foliage were available, then left behind with little trace. These dwellings were aerated enough to let any meager breeze pass through. Loss to flooding was inconsequential, and the simplicity and materiality of the dwelling meant it could adapt to any place.
With colonization came different dwelling needs. New populations from
Europe were more accustomed to sedentary lifestyles that originated far from a swampy alluvial plain. Over time, these newcomers learned to adapt and modify their architectural traditions to better suit the challenges of their surrounding environment, often relying on the wisdoms of the region’s indigenous peoples.
The Acadians, who came from climates where steep roofs were designed to shed heavy snowfall, now discovered those steep roofs could shed rain and simultaneously allow heat to rise, making them well-suited to a humid climate. Their cottages, which had before sat on the ground or on basements, now had to be set on cypress piers so their foundations would not rot, and their homes would not flood.
The shotgun dwelling is another example of such innovations, with origins traced back to West Africa and carried through the Caribbean and Haiti to New Orleans via free people of color following the Haitian Revolution. The design of the shotgun was quicky adapted in Louisiana due to its passive air flow technique created by a pressure change. This was achieved by keeping the footprint narrow, having every room access the continuous corridor that ran from front to back, and hinging doors at both ends. Combine the shotgun corridor with floor to ceiling triple-hung windows that provide a myriad of arrangements (top sash open-air flow and safety, bottom two sashes open, another doorway, etc.) and
The backyard of HHills in Arnaudville, a project that intentionally integrated aging-in-place design to ensure a high quality of life, with independence as a priority, for the retired clients.
Photo by Andrew Welch, courtesy of emerymcclure architecture.
high ceilings that allow the heat to rise— and suddenly the sultry summer nights of August in Louisiana become something tolerable.
Similarly to the Acadian cottages, the New Orleans shotgun dwellings also had to be raised to avoid the threats of flood ing posed by the Mighty Mississippi and a storm-prone coast. Over time, adap tations became even more extreme, and more savvy—raising the dwellings a full floor above the ground and construct ing the ground floor with materials that could sustain moisture (brick, stucco, tiles, tin, etc.). As the dwellings of South Louisiana evolved from the temporary to the permanent and the new settlers came to better understand their extreme environment, innovations expanded be yond the home footprint. No longer was it about surviving a flood; it was about stopping a flood. Individual homeown ers began building levees on their prop erty to hold back rivers and bayous. This innovation eventually became a munici pal design practice, and then, during the Industrial Revolution, a national design practice sustained by the Army Corps of Engineers.
Today, many people consider our buildings and towns to be styled by the past, arguing for preservation and emu lation. Much of our tourism comes from people that want to see these historical buildings and hear their stories. But, just as our ancestors adapted their cuisine, culture, and building practices to sus tain life in their new environment, we must continue to adapt to our changing landscape. Still battling the challenges of our predecessors—a hot humid climate prone to flooding—many of these his toric building strategies remain valuable. But in the 21st century, architectural de sign must also contend with more com plex cultural, ecological, and lifestyle challenges experienced in our modern world.
Adapting to New Realities
As a collaborator with emerymcclure ar chitecture in Lafayette, I recently worked on two new homes which investigate in novative approaches to dwelling that respect and utilize past principles in building, while also striving to adapt to the contemporary conditions of our changing world.
steel, designed to illuminate the colors of the native flowering flora surrounding the exterior, the home’s modest street presence is intentional in design—cre-
One challenge designers face in our contemporary building landscape is that of convention, tradition, and expectation. As Louisiana homeowners and architects respond to a need for increased energy efficiency, sustainability, and integration between the outdoor and indoor environments—aesthetic precedence can at times be a hindrance to creatively overcome.
Such was the case with VVilla, a home located on a narrow plot of land along the Vermillion River in Lafayette. The original concept for this project was a high-modern home that employs time-tested practices for sustaining life in this region. Clad in white brick and black
flora and designed a backyard oasis that would support the river’s annual fluctuations, not battle against them. Referred to as the “Cajun Prairie,” this bespoke native lawn was crafted with the support of experts from Boutte Landscapes and the University of Louisiana at Lafayette Office of Sustainability, as well as the Lafayette Consolidated Government Native Planting Guide. With great effort, we advocated for the Cajun Prairie through the very end of construction, developing a detailed maintenance plan that would satisfy the neighborhood standards, while simultaneously communicating the prairie’s beauty and its contribution to the river and local wildlife.
The Cajun Prairie and several other native planting beds can be viewed from any room in the house. The interior, which was less beholden to the rigidity of the neighborhood’s aesthetics, features
floor to ceiling operable window walls that capture indirect sunlight and connect the client to the natural environment just beyond the walls of their dwelling.
Another recent project I worked on with emerymcclure architecture addresses quality of life concerns for our aging population, with an emphasis on the re-
alities of aging in Louisiana. Sited in a rural community on Hidden Hills Lake in Arnaudville, this home is nestled in the shade of two large sweet gum trees. The clients envisioned a place where they could live out the rest of their lives as independently as possible, in a rural area, with limited access to extended family.
The result is a single-story home, con-
structed on a small footprint, with durable, low-maintenance materials. The heart of this spacious-feeling home features sky-scraping ceilings that flood the interior with natural light, dissolving a wall of windows into the view of the lake beyond. The space is grounded by an open, dark kitchen, and flanked on either side by bedrooms and bathrooms.
The Hidden Hills project is an example of how the inclusion of unique lifestyles and habits into design considerations can ensure a home will age along with its dwellers and can accommodate the challenges of aging before they arise. The design includes no door thresholds and a single floor material throughout, reducing potential tripping hazards. Every room is accessible by wheelchair, every door fashioned with single-motion lever hardware, and the walls were proactively constructed for easy installation of grab bars when necessary.
The exterior, an assembly of durable steel, cement panel, and brick, will require little maintenance as the home ages alongside its dwellers, and the highpitched roofs easily shed heavy Louisiana rain. Their bespoke curved edges, paired with a vibrant blue paint color, give the home a non-conforming character, capturing the charms of boaters and bird watchers passing by.
These contemporary agriculturalists intend on sustaining a long life, filling their days with gardening, mechanical work, and caring for rescued animals. To alleviate the wear of this lifestyle, their home is designed to include a screened porch overlooking the river and enclosing a raised spa pool for sit-in access. Wide sills and many windows create perches for the felines to watch birds nest in the trees. On the east side of the home, an enclosed yard allows the canines to relieve themselves on their own schedule. Custom
The
The backyard of VVilla in Lafayette, a project that adapted aesthetic obligations (issued from a neighborhood development authority) to the client's desire for a home that was built for energy-efficiency and integration between the outdoors and indoors. Photo by Andrew Welch, courtesy of emerymcclure architecture.
design details such as these offer the capacity to sustain active lifestyles and independence well into old age. The specifics of the couple’s established routines, hobbies, and traditions are what gave order to this project, but a desire to be self-sufficient is what forced the adaptation—resulting in an innovatively conceived home that is functional, resilient, and a place of respite.
Improving Upon Tradition
These projects are beautiful in large part because they work—both in how they respond to their external environment, and how they form around the lifestyles of the dwellers within. They are certainly not one-size-fits-all, but they illustrate the impact of context-sensitive design and emphasize the inherent value in creating something built to last, illustrating how engaging the process of design can result in a project unique to a lifestyle, a community, or an entire culture.
The innovative building traditions in this region grew out of necessity, as well as a deep connection to the terra viscus ecosystem of which we are part, and now make up the basic ruleset for keeping contemporary homes cool and dry in south Louisiana. As we look to the future and face the projected consequences of a changing climate, the paragon of good architecture will be its capacity to respond to our constructed realm, while offering potential contributions to a healthier, more symbiotic future. It is adaptation and innovation that have sustained life in this region for centuries. And it is adaptation—improving upon our traditions—that will help us embody the resilience needed to sustain life in this region for the century ahead. •
(bottom)—each offering visual integration with the outdoors through the use of large windows and natural light. Photos by Andrew Welch, courtesy of emerymcclure architecture.
Chubby Carrier and The Bayou Swamp Band 10:00 am – 12:30 pm
The Bad Boys ................. 1:00 pm – 4:00 pm
Cajun Company ............. 4:30 pm – 7:00 pm
SATURDAY CA C’EST BON
Cooking Demo & Dinner
(Advanced Tickets Required) 4:00 pm – 7:00 pm
GUMBO SUNDAY, OCT 13
Gumbo Cookoff with 75+ Teams ................................... Serving @ 11:00 am
SUNDAY LIVE MUSIC
Geno Delafose and French Rocking Boogie 10:00 am – 12:30 pm Sideshow ....................... 1:00 pm – 3:30 pm
soft drinks & beer will be sold. No ice chests or pets, please.
Interiors of HHills (top) and VVilla
The Architectural Legacy of Nueva Orleans
THE UNPARALLELED INFRASTRUCTURAL IMPACT OF THE CITY'S SPANISH COLONIAL ERA
Story by Octavio Nuiry
The French influence on old New Orleans, commonly referred to as “the French Quarter,” is well-known. But much of the architectural legacy of the Vieux Carré can actually be attributed to the Spanish colonial influence, even more than the French.
In fact, the city’s most recognizable landmark, the Plaza de Armas (now called Jackson Square), boasts a remarkable concentration of Spanish architecture—many of its buildings financed and built by the Spanish dons in New Orleans during Louisiana’s Spanish colonial period (1763–1803). The most stunning examples are the architectural jewels of the Cabildo, parts of Saint Louis Cathedral, and the Presbytère. This “Holy Trinity” of Spanish colonial architecture was built by Spaniards in the late eighteenth century, when the banner of Castilla y León waved over the city. The structure of Jackson Square closely resembles Spanish plazas in Havana, Cuba or the Plaza Mayor in Madrid, Spain, with its equestrian statue of King Felipe III.
In the forty years following King Louis XV’s discard of the struggling Gallic colonial outpost, the Castilian caballeros transformed Nueva Orleans from a struggling, poorly managed, haphazardly ruled wilderness village Europeans called “the Indies,” into a highly urbanized, flourishing, and stately Spanish metropolis. The wide-ranging Iberian administrative, economic, and cultural reforms enacted by the Spanish governors of New Orleans sparked a demographic transformation, infrastructure development, and economic growth.
The Fires of 1788 and 1794
“The greatest impress that Spain left was architectural, and this came about partly by accident, or two of them,” writes Harnett T. Kane, author of Queen New Orleans. Kane is referring to two fires, in 1788 and 1794, that destroyed much of the city’s existing French infrastructure.
The Good Friday fire of March 21, 1788 started at the home of Don Vincente José Nuñez, the Treasurer of the Spanish army. Devout Catholics, Nuñez and his family were celebrating the sacred day in their home on Chartres Street when a breeze ignited a lace drapery in their private chapel. Four hours later, when the fire expired,
856 of the city’s 1,100 buildings were destroyed. Constructed almost entirely of wood, New Orleans burned like a flaming torch, and nearly eighty percent of the city was incinerated.
Six years later, a second, smaller fire took place on December 8, 1794. It was set by children playing with matches near a hay store on Royal Street, and ultimately incinerated another 212 buildings, removing just about every remaining vestige of French architecture, except the Ursuline convent. In all, the two fires consumed over 1,000 French-era buildings, virtually erasing the Gallic village.
“What lay in the ashes was, at best, but an irregular, ill-built, French town,” wrote historian Grace King, author of New Orleans: The Place and The People. “What arose from them was a stately Spanish city, proportioned with grace and built with solidity, practically the city as we see it today.” Kane described early Spanish New Orleans as a “city of heavily walled brick houses, two-storied, tile-roofed, with wide arches, fanlights, and Spanish-style courtyards.”
A Spanish Quarter Rises from the Ashes
Following these devastations, the Spanish dons immediately began to rebuild New Orleans with uniquely Castilian characteristics. What emerged was a denser, more urban Spanish architecture whose handforged, wrought-iron balconies; curved, elegant staircases; hidden paved courtyards; arched carriageways; tiled roofs; and fanlight windows came to define the city’s aesthetic. In his book Old New Orleans, Stanley Clisby Arthur, wrote: “The best of the old wrought-iron balcony decorations, therefore, are in more than one-way, pure Castilian.”
In response to the fires, Louisiana’s Spanish Governor Esteban Miró (1782-1791) and his successor Francisco Luis Hector, Baron de Carondelet (1792–1797) issued swift changes in building, fire, and safety codes. Strict new laws mandated the use of nonflammable materials, including protective brick and stucco exterior walls, instead of combustible wood. Fire-retardant tile and slate roofs, imported from Havana, Cuba, replaced cypress shingles. The government instituted new fire-fighting equipment and hired
St. Louis Church, 1794. From an old architectural drawing in the city library. Reprinted in New Orleans as it was: Episodes of Louisiana Life (1895).
Map of 1788 fire, published in 1886, showing area in flames, behind Plaza de Armas to Burgundy Street. Library of Congress.
night watchmen, called serenos, to patrol the streets at night. Two-story dwellings replaced one-story buildings, and the general appearance and safety of the city was improved. Carondelet instituted the city’s first street lighting system to prevent crime. Each night, serenos lit eighty oil lamps at street corners, which were fueled by animal fats.
Two centuries after Spanish rule, a stroll through the Quarter reveals the physical and material evidence of the Castilian colonial imprint in the architectural structures we still see standing today, including these seven gems:
St. Louis Cathedral (721-727 Chartres St.)
The historic St. Louis Cathedral is one of New Orleans’s most iconic and splendid ecclesiastical landmarks; and its history is inseparably linked to Spain. Three churches have stood on this historic site overlooking the Plaza de Armas during the past three centuries.
The first French Catholic church, likely in what is today the 600 block of St. Ann, was destroyed in the hurricane of September 1722, which demolished nearly every building in New Orleans. The second Church of St. Louis, designed by French engineer Adrien De Pauger, was built in the French style of briquette-entre-poteaux (brick between posts), with the outside walls covered in adobe and plaster. It was completed and dedicated in 1727.
Around 1763, shortly after Bourbon France ceded the colony to Bourbon Spain, and the came into possession of the city, the church was closed for much-needed repairs, and services were temporarily held in one of the king’s warehouses on Dumaine Street. Once repairs were completed, Pauger’s church operated until it was destroyed by the 1788 Good Friday fire.
The day after the fire, Don Andrés Almonester y Roxas—a rich Andalusian real estate investor, businessman, and politician who had come to the Spanish colony nineteen years earlier escribano público (notary public)—offered to replace the ruined church with a larger one and to rebuild the priest’s house next to it; all at his own expense. The Illustrious Cabildo (city council) accepted the generous offer, and Almonester y Roxas not only supplied the necessary funds, enslaved labor, and material to rebuild a new Iglesia de San Louis, but also supervised the reconstruction with the promise of a much larger and more impressive structure than its predecessor—designed by engineer Don Gilberto Guillemard. The project officially introduced classical Spanish architectural forms to New Orleans, mirroring Iberian colonial churches in Cuba, Mexico, Puerto Rico, Guatemala and Columbia, with features that included twin hexagonal towers flanking each side. The new Iglesia was completed in 1794—the same year of the second fire. But by the grace of God, the church was spared. In 1819-1820, the city commissioned architect Benjamin H. Latrobe to design and build a central tower for the church, containing the town clock and bell.
De Poulily's drawing of the facade of the new St. Louis Cathedral, circa 1847. (N.O. Notarial Archives)
Over the next few decades, as the elegance and scale of the nextdoor Cabildo and Presbytère arose, the Basilica’s original grandiosity diminished beside them. In addition, the church was too small for the growing congregation. The city began to discuss renovations and expansions, and in 1849–1851 architect J.N.B de Pouilly embarked on his restoration—which ultimately culminated in a complete demolition and rebuilding of the church, except for part of the front wall.
Like Don Almonester’s Iglesia, J. N. B. de Pouilly’s modern French Romantic design included a triple steeple façade, though the scale and size were much larger than the second Spanish Cathedral. There is symmetry in the two outward hexagonal spires with star-topped cross adornments, in the Spanish-French tradition, and a soaring central clock and bell tower; there are three clock bells and four ‘church’ bells. The de Pouilly design conveys the balanced architectural elements of columns and arches, with an exterior clock in the central tower. This is the St. Louis Cathedral we know today.
The Cabildo (701 Chartres Street)
Architectural historian and preservationist Samuel Wilson, Jr. claims that the Cabildo is one of the most important historic buildings in the United States, “and undoubtedly the most important surviving monument of the period of Spanish domination in Louisiana.”
The first Cabildo was built in 1769, after Louisiana’s second Spanish Governor, Don Alejandro O’Reilly (1769-1770), an Irishman in the service of the Spanish Crown, undertook a massive restructuring of the civil government in Nueva Orleans. One of Governor O’Reilly’s first acts was to abolish the old French Superior Council and establish a new Spanish Cabildo as a governing body. The simple structure that O’Reilly built to house the Cabildo complex—which included a military prison, civil prison, police station, jailer’s quarters, and government chambers—burned in the fires of 1788 and 1794.
After the 1794 fire, Don Andrés Almonester y Roxas offered to pay for the construction of the new casa capitular on the present site. Construction began in December 1795, and the building was finally completed and occupied on May 10, 1799, when the Illustrious Cabildo, the governing body of Nueva Orleans, held its first session in the Sala Capitular (capitol house).
Architectural historian Talbot Hamlin notes that the building’s façade resembles the Cabildo in Oaxaca, Mexico, and other Spanish colonial cities throughout the Americas. Along the first-floor, thick columns are connected by nine arched openings; above, on the second floor, the walls are broken by fanlight transoms with handsome wrought-iron balconies, forged locally by Marcelino Hernandez, a Spanish immigrant from the Canary Islands. A triangular pediment centered over the three central arches draws your eyes to the building’s grand entrance. Rooted in neoclassical designs, based on architecture of ancient Greek and Roman styles, the Cabildo was originally built with two stories, featuring brick walls that were stuccoed. The roof was flat and covered with flat tiles, and there were eight plastered ornaments, or corbels, equally spaced along the façade. In the mid-nineteenth century, after the Louisiana Purchase, Creole leaders added a third floor crowned by nine gabled dormers, with eight casement windows, allowing light and ventilation into the new interior space. They also topped the building with its iconic decorative cupola and slender spire.
The Cabildo served as the City Hall of New Orleans until 1853, when the seat of city government was transferred to Gallier Hall on Lafayette Square, then later to Loyola Street. In 1908, the city donated the Cabildo to the Louisiana State Museum, which has owned and managed the building since.
Spanish Presbytère (751 Chartres Street)
Historically considered the Cabildo’s twin, the Presbytère is one of the finest examples of Spanish colonial public building architecture in the United States, according to Samuel Wilson Jr. and Leonard V. Huber, authors of The Presbytère on Jackson Square.
Though it was originally intended to be a rectory, or Casa Curial (Ecclesiastical House) for the Spanish Capuchin priests, a Franciscan order who administered the St. Louis Cathedral—the Presbytère was never used for that purpose.
There is evidence that two French presbyteres stood on the site, likely for the benefit of the Capuchins, before in 1769 the Spanish built another structure on the site—which was ultimately destroyed by the fire of 1788. Intended as a replacement, the Presbytère was financed by Don Andrés Almonester y Roxas, and a design matching that of the nearby Cabildo was completed in 1791 by Gilberto Guillemard (who also designed Almonester y Roxas’s St. Louis Cathedral) . But construction on the Presbytère was halted when the aging Almonester y Roxas died in 1798, and his widow filed suit to absolve her from the financial obligations to complete construction of these massive buildings. Work was halted on the one-story Presbytère for fifteen years; it remained unfinished until the church wardens contracted to have it completed in 1813.
Architecturally, the Presbytère is a two-story brick building with a flat balustraded roof. The lower story has an open arched gallery, with two Doric pilasters. The upper story mostly mirrors the lower in design, but with Ionic pilasters. In 1847, a third-floor mansard roof and cupola—identical to the ones the Cabildo received the same year—were added. From 1822 to 1853, the building was home to the Louisiana Supreme Court, before church wardens sold it to the City of New Orleans. From 1834 to 1911, it was used as the city courthouse, and since 1908, the Louisiana State Museum has owned and operated the building. With the Cabildo, the Presbytère was designated a National Historic Landmark in 1970.
Bosque House (617-621 Chartres Street)
Many distinguished New Orleanians, whose names are prominent in Louisiana’s colorful history, have called the Bosque House their home. Though, not one is so firmly rooted in Louisiana history as Don Bernardo de Gálvez, the fifth Spanish governor of Louisiana (1777-1785), Captain-General of Havana, Cuba; Viceroy of New Spain (Mexico); and unsung hero of the American Revolution (1775-1783). Galvez and his wife Félicité de St. Maxent d’Estréhan (for whom they say the Felicianas are named) lived with their daughter Guadalupe at 617 Calle de Chartres for three years, from 1781 to 1784. He purchased the casa grande on October 15, 1781, from Spanish Intendant, Don Juan Ventura Morales. Convenient to Government House (the governor’s home), then located at Toulouse and Decatur, this was an ideal home for the official family and an elegant Spanish residence.
When the war hero, ranking as Captain General, was transferred from New Orleans to Havana, Cuba in 1785 to serve as the Viceroy of New Spain (Mexico), Galvez sold their Calle de Chartres home to Don Jaime Jorda, a wealthy Spanish merchant and slave trader who owned other properties around the corner on Toulouse Street, according to Cabildo notarial records at The Historic New Orleans Collection. Three years later, Don Jorda transferred the title to Don Vincent José Nuñez, the Royal Treasurer and Paymaster of the Spanish army, on September 10, 1787. This is where, of course, the devastating 1788 Good Friday fire started—in Nuñez’s private chapel.
After the fire, Don Nuñez began construction of a new house in 1789, but he sold it unfinished to Don José Javier Delfau de Pontalba, a lieutenant and colonel in the Spanish army.
After the second fire occurred in 1794, burning that structure to ashes, Don Pontalba sold the property to the wealthy merchant and ship owner Don Bartholomé Bosque on December 1, 1795, who built the stately house that exists on the property today.
Architecturally, the front façade looks unassuming, but this impressive dwelling has been greatly changed since Bosque’s original design, which had a flat azotera tiled roof terrace and garden section and featured twelve rooms on the second-floor and a curved stairway in the center of the property. The mirador railings bear the markings of the renowned Mexican blacksmith, Marcellino Hernández, and boast an Arabesque central monogram o with the initials “BB” turned backwards, so that Don Bartholomé Bosque could enjoy them himself from his balcony. A splendid and spacious carriageway, located on the right side of the building, leads to an airy rear courtyard with a gracious central metal water fountain and servants’ quarters. On the second floor, a balcony runs the full length of the building's façade, projecting over the sidewalk, and it has four great windows, which are of the Spanish colonial style.
Bosque lived in the house for fifteen years with his six children. One of Bosque’s daughters, Cayetana Susana (Suzette) Bosque y Fanqui was the third wife of Louisiana’s first American governor, William C. C. Claiborne. After Bosque's death, his widow sold the property at 617-621 Calle de Chartres to Ciriaco de Cevellos on July 9, 1810.
Image of the Cabildo's Cupola design from the Historic American Buildings Survey, Library of Congress.
Today, Casa Gávez is privately owned by a limited liability corporation known as CLIBE, LLC, according to the New Orleans Assessor. Since 2009, the Spanish mansion has been carved up into half a dozen or more apartments.
Merieult House (527-533 Royal Street)
José Montero de Pedro, author of The Spanish in New Orleans and Louisiana, describes the Merieult House as the “patriarch” of the Spanish Quarter.
During the succession of Spanish merchant Don Pedro Aragón on April 25, 1792, the property at 527–533 Royal passed to Jean Francois Merieult. Merieult was a junior judge of the Illustrious Cabildo, a wealthy shipping “merchant prince,” plantation owner, and trader of the enslaved. Likely with enslaved labor, Merieult and builder Jacob Copperwaite oversaw construction of the Spanish colonial style home that today bears his name—one of the few structures to survive the fire of 1794. He retained ownership of the property until the spring of 1819, when Catherine McNamera Merieult, his widow, sold it to Jean Lanna, a merchant.
The property passed hands until it came under the ownership of General Lewis Kemper Williams and his wife Leila in 1938. After her death in 1966, the Williams’ will established the Kemper and Leila Williams Foundation, which is today the operating entity of The Historic New Orleans Collection. In 1970, the Merieult House on Royal Street opened to the public as a museum and research center.
Architecturally, the Merieult House is a splendid example of Spanish colonial craftsmanship in New Orleans, featuring stucco-covered brick and arched ground floor openings, a tiled roof, and courtyard. The ground floor façade consists of a series of ten granite pilasters, with molded granite capitals. The granite pilasters supported a broad, flat granite lintel crowned by a simple granite Greek Revival torus molding. On the second floor, a series of seven similar and equally spaced triple hung windows, with louvered shutters, all open onto an elegant, geometrically designed cast-iron balcony, which runs the width of the Royal Street façade.
Bank of Louisiana (417-425 Royal Street)
One of the most interesting buildings constructed in the old Spanish city is an Iberian structure of note at 417 Royal Street, directly across the street from the main entrance to the Civil District Courthouse, an American-built nineteenth-century architectural monstrosity. 417 Royal has an illustrious past, and was home to many renowned New Orleanians.
The property was first owned by Doña Angela Monget, who later sold it to Gaspar Debuys and Hubert Remy. Six days after the sale, on December 8, 1794, the second great fire ravaged Debuys' and Remy’s newly purchased property. They sold it a month later to engineer and cotton planter Vincent Rillieux, a wealthy Spanish merchant of that period, who paid Gaspar Debuys and Huberto Remy a tidy $1,900 Spanish piastres on January 8, 1795 for the charred ruins at 417 Royal Street. He then contracted an architect (whose name has been lost to time) to build the three-story mansion that remains on Royal today. The building was completed in 1795.
Don Rillieux had built several other houses on Royal Street just after the two fires, including the Rillieux-Waldhorn building on the corner of Royal and Conti Streets, located at 335-341 Royal Street. After Rillieux died, on February 12, 1800, his widow, Doña Maria Tronquette Rillieux, transferred the title to James Freret, who had mar-
ried Rillieux’s daughter, Eugenie. Freret fell into financial difficulties and had to relinquish the building at public auction on June 2, 1801.
The property passed a few more hands before it was purchased by Julien Poydras, president of the newly formed—but short lived—Banque de la Louisiane (1805-1820). Louisiana Bank’s initials “LB” still can still be seen on the second-floor wrought-iron mirador. It was the first bank established in New Orleans after the 1803 Louisiana Purchase.
In 1819, a financial panic swept across the United States, and a severe economic depression ensued. The Bank of Louisiana occupied the property until its liquidators sold it for $25,000, on October 5, 1820, to Martin Gordon, Sr., a friend of United States President Andrew Jackson. In 1841, judge Alonzo Michael Morphy, a lawyer and justice of the Louisiana Supreme Court (1839-1846), was the highest bidder at a sheriff sale and acquired Martin Gordon’s lavish Spanish casa at 417 Royal. For fifty years, Judge Morphy, along with his wife, Thelcide Le Carpentier Morphy, and their four children lived at 417 Royal.
Although the judge was a prominent member of the Louisiana bar and one of the most illustrious members of Louisiana’s high court, this renowned Louisiana barrister’s fame hinges not on his legal pedigree, but on the fact that he was the father of Paul Charles Morphy, the internationally celebrated chess child prodigy—who himself lived at 417 Royal until he died at forty-seven years of age, on July 10, 1884. In 1891, the family relinquished the property at an auction sale, and it passed through a series of hands before opening, with an extensive renovation, as the Patio Royal restaurant in 1921— where it stood as a hub of New Orleans social life for thirty years.
Since 1954, the building is best known in New Orleans as the home of the iconic restaurant Brennan’s and
is currently owned by Ralph Brennan and his business partner Terry White.
Architecturally, the building at 417 Royal is a two-sto ry, brick and plaster structure with a carriageway leading to a rear courtyard. The ferronnière mirador supporting brackets are among the finest in the Quarter.
Montegut House (729-733 Royal Street)
Casa Montegut was built shortly after the fire of 1794 for Dr. Joseph Montegut (1739-1819), a prominent French medical doctor in the service of the Spanish army and chief surgeon of Charity Hospital (another historical icon funded by Don Andrés Almonester y Roxas in 1796).
The house is a five-bay Spanish colonial townhouse in a two-story masonry building, with brick and plas ter facade, fanlight doors, and a handsome arched central carriageway on the ground floor. The sec ond floor mirrors the five bays on the first level, but four of the upper-level bays are square. The building is crowned with three arched roof dormers, with pi lasters. Four attractive pilasters punctuate the building’s front façade. The central carriage way leads to a rear courtyard. The second floor mirador has a handsome wrought iron railing that runs the length of the façade. On the second-level the arched central bay mirrors the ground-level carriageway, with fanlight windows above the horizontal board shutters. Two chimneys bookmark the three central dormers.
More Spanish Than French
This impressive building once dominated the whole block, stretching from Calle de Santa Anna (St. Ann) at one end to Orleans Street at the other. Dr. Montegut owned numerous properties in Nueva Orleans, including his own home at 729-733 Calle Real , 721727 Calle Real , 325 Calle Real , 329-331 Royal, and
712-714 Calle de Santa Anna , according to the Historical New Orleans Collection’s Vieux Carré Digital Survey.
Dr. Montegut sold 731 Royal Street to the Sisters of the Ursuline Convent on July 12, 1815, who held it for over a decade before putting it back on the market. The property passed multiple hands over the centuries and is today owned by Renvdin Family Properties, LLC, according to the New Orleans Parish Assessor’s Office.
Stepping into the Spanish Quarter is like being transported to Spain or a New World Spanish colonial city. Spain’s brief rule in Louisiana not only contributed considerably to the colony’s size, growth and diversity, but it also fostered development that would endure in Louisiana to the present. The Spanish architecture in New Orleans from the late 18th century, therefore, is unique, like the city itself, and it is one of America’s greatest outdoor museums. •
Image: Details from the wrought iron railing of the Bosque House, featuring the monogram for Bartholomé Bosque. From the Historic American Buildings Survey, Library of Congress.
ANIGHT TRAIN
All Aboard
A NEW, BRILLIANTLY ECCENTRIC ODE TO HISTORIC HOSPITALITY OPENS ITS DOORS IN GRAND COTEAU
fter taking the exit 11 off LA-93, the modern world gives way to timeless beauty and tranquil rejuvenation. Once called the hholiest place in Louisiana, Grand Coteau can save your soul if you let it. The historic town is renowned as a haven for spiritual rejuvenation and creativity, and its newest lodging, The Trainwreck Inn, serves as a vintage-inspired retreat that references the area’s history and contributes to its creative spirit.
Like most good things, The Trainwreck Inn is a labor of love. Co-owner Ben Trant, a Renaissance man if there ever was one, has the calluses on his hands to prove it.
By day, the born-and-raised St. Landry Parish attorney runs his law firm, Maison Title, and serves as judge magistrate for the parish. He knew he wanted to return home after graduating from Tulane Law, and that decision has spawned several successful residential real estate endeavors—among them the Trainwreck Inn.
In November 2019, Trant acquired a property in Sunset, and with it a collection of rusting train cars and a ticket booth from the old Lafayette passenger train station. "I saw the Sunset property listed and really wanted the train cars," said Trant. "They’d gone into disrepair.”
A sunshine yellow caboose, built in the 1920s, was determined to be the last caboose to run on the now-abandoned railroad that went through Sunset. Crafted in the early 1900s, the orange octagonal depot building was originally located at the Sunset train yard and housed
rail workers. The oldest of the antiques was the nineteenth century blue U.S. mail car. Its origins are unknown, aside from its once having served as a hunting camp near the Atchafalaya Basin.
“I love history and old structures, and I wanted to move them here [to Grand Coteau] and have something old and cool," said Trant.
To assist in realizing the concept, he called his lifelong friend, the entrepreneur Colin Grussing. About a decade ago, Grussing had proposed the idea of putting tiny homes on a piece of land in Grand Coteau. “That was not the right time for such a project,” said Grussing, but after hearing Trant’s plan for the train cars, “I signed on immediately.” He is now a co-owner of the business, and spearheads logistics and operations for the Trainwreck.
Having acquired the train cars for free, Trant enjoyed the freedom of working on them on his own time— without the crazed rush of other real estate endeavors. On his own, he built out the decks, the railroad tie walkway, and the winding border between the red and gray gravel. “I did a lot myself, and I brought in friends that have great talents,” he said.
One friend central to the Inn’s ultimate vision was branding expert and interior designer Carly Viator Courville. For the site’s signature aesthetic, the media maven and owner of Electric Magnolia Studio drew inspiration from the 1970s: happy yellows, bright mints, deep blues, warm oranges—all grounded by natural
light and unfinished wood. “We used Wes Anderson color palettes to make each space different, but have a cohesive thing,” Viator Courville said. “It’s timeless.”
The mid-century modern furniture looks good in a photograph but doesn’t sacrifice comfort. There are record players and vintage glassware on bar carts; movie posters and portraits of local legends like Amédé Ardoin, Dennis McGee, Sady Courville, and Marc Savoy. The cabinetry was constructed entirely by fellow Grand Coteau resident Toby Rodriguez, best known as the owner of L’ache Pas Boucherie and for appearances on Anthony Bourdain: No Reservations, Treme, and Top Chef. If every frame in a Wes Anderson film is a picture, then every corner of the Trainwreck Inn is a postcard.
Part of the magic of Grand Coteau is its tendency to attract creatives to its hallowed grounds. With a population in the triple digits, the artist-per-capita ratio can’t be beat. Conceptually, Grand Coteau has more in common with Marfa than, say, Opelousas. This is by design.
“The town council and the mayor are people who have lived here a long time, and they, for multiple reasons, have fought growth,” Rodriguez said. “There had to be a balance of that. You can have bad growth. But we’ve effectively kept the place as a time capsule.” The train cars, the caboose, and the ticket booth are now part of that time capsule—a tribute to the history of St. Landry’s old railroad towns and a to the possibilities of creative collaboration in the name of hospitality. •
Story by Ashley Hinson
VISIT ST. FRANCISVILLE
This Summer, Come to St. Francisville and “Live Like a Local”
planners, the community fun continues with the annual Pop & Shop celebration, and a brand new Live Like a Local initiative that promises to deliver a refreshing blend of hot deals and cool art to keep the fun coming into fall and beyond.
Saturday, August 24: In what has become a late summer tradition, St. Francisville’s annual Pop & Shop is a town-wide open house, when merchants around downtown and the Historic District join forces to ply visitors with in-store specials, summer-themed refreshments, and installations of original art and live music. All the way from Arts for All and Commerce Street, through North Commerce and along Ferdinand Street as far as West Feliciana Historical Society Museum, participating businesses host artists and musicians, restaurants offer samples, and the fun spills out onto the sidewalks while free trolley transportation links participating locations all evening long. In addition to in-store specials, visitors will find extra enticements at the Arts for All Studio (5877 Commerce Street), where artist members will show original work, antiques emporium will serve refreshments, and local singer-songwriters will perform. Stop by the St. Franto experience Friday Night
Lights, an exhibit by the West Feliciana Touchdown Club that showcases original art by local school alumni, former teachers, and Saints football fans to interpret what Friday Night Lights means to them. The Town Hall will also host live music, and The Selfie Co., a summer-spirited photo booth for snapping photos, and creating gifs and boomerangs—all shareable via text and social media. See facebook.com/townofstfrancisville for details.
Live Like a Local
Pop & Shop also serves as a launchpad for Live Like a Local, a four-week passport challenge spearheaded by the West Feliciana Tourism Commission to inspire residents and visitors to patronize local attractions, restaurants, and retail businesses. Pick up a passport from the West Feliciana Historical Society Museum, then collect stamps from more than thirty participating establishments. Then, return your stamped passport to the Museum by September 21 and you’ll be in the running to win all sorts of cool prizes. Live Like a Local runs for four weeks only, so get a head start by joining the fun at Pop & Shop on Saturday, August 24 from 4 pm–7 pm.
To learn more and see a list of participating businesses, visit www.Visitstfrancisvillela.com.
HISTORIC RESTORATIONS
The Burger Joint Inside Wormser's
GRANT AND KRYSTA MYERS' THOUGHTFUL RENOVATION OF A NEW IBERIA ARCHITECTURAL JEWEL
Story by Shanna Dickens • Photos by Paul Kieu
Walking into Bambino’s Burgers is like opening an antique leather-bound book to find the pages filled with neon-hued pop art. Located in New Iberia’s historic district, the new restaurant has mastered the beauty of juxtaposition by transforming one of Main Street’s most historic buildings with an eclectic, animated interior design. It’s a burger joint, sure, but with historic tile murals, charming ice cream tables, and a large painting of Don Vito Corleone, inviting all who enter to make him an offer he can’t refuse. The space is open and airy, yet filled with cozy pockets of delight. You might as easily find yourself in a snug booth or an art-filled nook with bar games, dayglow portraits of dogs, and gummy bear wallpaper.
Bambino’s is the latest of Grant and Krysta Myers’s historic restoration projects in the area, which include the Loisel Plantation in Jeanerette and a previously abandoned Victorian-style Broussard home near the Shadows on the Teche. The downtown building itself is one of those local landmarks that, regardless of its current occupants, will always be referred to by the name of its most famous tenant. In this case, it will forever remain “the Wormser’s building.”
The History of the Wormser’s Building
Wormser’s Department Store was a high-end fashion haven, exemplifying a bygone era of personal customer experience. The Wormser family owned the building and the department store from 1934 to 1998. Older generations of New Iberians share a collective lingering pride of memories spent shopping or working at Wormser’s.
Built in between 1902 and 1903 by Herbert Weil on the ruined site of the devastating October 1899 fire known in Iberia Parish as “The Great Fire”—the building was purchased by Justin Wormser in 1934. In 1966, his son Harold opened the iconic department store and secured the building's place in Iberia Parish history. The façade showcases an ornate, stepped gable design with sleek, geometric decorative elements along the roofline. The entrance is recessed, creating a small alcove with glass display windows on either side. It was this distinct art deco design that attracted the attention of the National Historic Register, to which it was added in 1995.
After considering several other properties in the historic downtown district, the Myers chose the Wormser’s building in part because of its history, and in part because of its structural integrity. “The bones of the building were strong and the roof was only a few years old,” says Grant. With the help of Jane Braud, Director of the Planning & Zoning Department and Certified Director of the Main Street Program, the couple was able to secure a Historic Façade Grant from the Historic Revitalization Subgrant Program for $55,000 to help fund their restoration.
The Burger Joint
“Once we secured a building, we brainstormed what the best fit would be for the space,” said Grant. “At the time, I had a herd of cattle and thought it would be great to have a small hamburger joint in the area. A place where everyone could come to eat, visit and relax.”
The straightforward nature of the Bambino’s Burgers’ menu is any burger enthusiast’s dream come true. Their bread and butter, pun intended, is delicious burgers, such as the juicy Great Bambino—but they also offer flavorful grilled chicken sandwiches and salads. Their appetizers range from duck wontons to truffle fries. The kid’s menu features classics like cheeseburgers and grilled cheese. A day at Bambino’s can begin before lunch with breakfast items like beignets, French toast, and pancakes, along with a la carte options.
The Restoration
There were times during the restoration when the work more closely resembled an archaeological dig, according to Grant and Krysta. After removing eight layers of old flooring, they were thrilled to uncover the original penny round tile. And still, the floor held more surprises. At the building's entrance, they discovered a large mosaic of a wagon wheel designed in terrazzo, installed around 1910 when the building was the Hub Clothing Store. In addition to the floor, the restoration team was able to preserve the original display racks and booths from Wormser’s Department Store.
In each of the couple’s projects, Krysta is responsible for the design—bringing a keen eye for detail and passion for preserving historical elements, combined with a clever sense of where best to incorporate distinctive, modern touches.
“It’s always important to me to make these old structures represent the correct time period,” said Krysta. She achieves this not only through restoration, but by sourcing and curating items of décor to compliment the building’s history. “In the case of Bambino’s that includes everything from the light fixtures to the ice cream barstools and tables.”
Taking inspiration from her travels, Krysta explained that she and Grant are always seeking out pieces that make places stand out, and trying “to bring a little bit of everything that we experience back to New Iberia.” At Bambino’s, the dining room table and chairs, as well as the bar, for instance, come from one of the family’s favorite spots in Savannah, Georgia, Jere’s Antiques.
A New Life for a Community Relic
“There was a time when it was difficult to find people to restore buildings such as ours,” said former Chairman of the Wormser’s board of directors, David Wormser. “We struggled to find people to repair the mosaic mural in the entrance, as well as the neon Wormser’s sign. So, I’m really glad to see what they have been able to do with it.”
“We love our town and the beauty that this downtown area once was and is being brought back to,” Grant said. By transforming this beloved landmark into a vibrant culinary destination, he and Kristy have ensured its legacy continues for future generations to enjoy. •
Soupçon
A DASH OF DINING NEWS
By Sophie Nau
COOLinary New Orleans Returns for a 20th Year
Every hot and sticky summer, as we diligently follow dispatches from the National Hurricane Center and change our sweaty shirts just so the 95 degree weather can soak through another one, there is one silver lining, and thankfully it can be found at a number of culinary institutions across the city. It’s COOLinary New Orleans, the summer tradition for which participating restaurants rollout specially priced, prix-fixe menus for two-course lunches and three-course dinners and brunches. Now’s the perfect time to sample a curated menu from the dozens of inventive and classic restaurants that make New Orleans a dining destination. Sit back, order a (frozen) drink or two, and take your taste buds on a tour of the city’s comestible culture. Celebrating twenty years this year, COOLinary organizers have extended the deliciousness for an additional two weeks, lasting from August 1–September 15. neworleans.com/coolinary
Creole Italian Endures on the West Bank
Though, after forty years, New Orleanians are saying goodbye to the West Bank’s Tony Mandina’s this summer, Gretna residents won’t be without Creole-Italian fare for long. Venezia, the famed New Orleans spot (and former mob boss hang out) that has held court on North Carrollton Avenue in Mid-City since 1957, has picked up the old Tony Mandina’s as the site for a second location. Nicholas Bologna, the proprietor of Venezia, is hoping the new space will give the restaurant more room to accommodate the crowds waiting for a table on weekend nights.
Traditionally, nights out at the original Venezia ended with a gelato nightcap at Angelo Brocato next door. But fear not, the two establishments are collaborating on a special dessert menu just for the Gretna outpost. And regulars from Tony Mandina’s can expect some familiar faces at the new Venezia, as Bologna plans to retain the staff. venezianeworleans.com
Superior Serves Cajun Country
That sound of a (deadly) margarita shaking? This time you can hear it in Lafayette. Superior Grill has been serving up classic Mexican dishes in Shreveport since 1983, and has since made itself firmly at home in Baton Rouge and New Orleans. Now, the restaurant group has brought its signature mesquite grill and tequila bar to Acadiana. lafayette.superiorgrill.com.
Introducing The SoFab Cookbook
The Southern Food and Beverage Museum, which turns twenty this year, launched in 2004 with a series of pop ups run by founder Elizabeth Williams, who wanted to dig deep into the culinary culture of the South. Since then, the museum has expanded into its permanent location on Oretha Castle Haley Boulevard in New Orleans, hosting a vibrant slate of programming that showcases how food and beverage are an integral expression of Southern history. The 20th year celebration includes a release of the museum’s first cookbook The SoFab Cook Book: Recipes from the Modern South by Williams and Maddie Hayes, with a foreword by Dickie Brennan, as well as exhibits (check out The Natural Port: A Look at Coffee Culture in New Orleans which opened July 24), and collaborations with local artists like Brandon “BMike” Odums of Studio Be. In addition to the anniversary programming, SoFab regularly houses a number of projects and institutions, including the Museum of the American Cocktail, the Paul C. P. McIlhenny Culinary Entrepreneurship Program and the Research Center at Nunez Community College, and a collection of over 40,000 culinary books, along with historical menus and pamphlets. southernfood.org.
Chef Castro is Back!
At long last, Chef Ana Castro has opened her much-anticipated Bywater restaurant Acamaya, the follow up to the highly praised, James Beard-nominated fivecourse tasting menu restaurant Lengua Madre, which closed in 2023. Acamaya, which Castro runs alongside her sister Lydia Castro, is a mariscos-style restaurant offering a more casual—yet no less thoughtful take on Mexican seafood culture. The restaurant’s design takes cues from Mexican craftsmanship and features quintessential indigenous ingredients like huitlacoche. Besides the much lauded Lengua Madre, New Orleans foodies and barhoppers might recognize Castro from her time as sous chef at Coquette and her pop ups around town. A passionate rep of both New Orleans and Mexico, Castro has clearly put thought into every detail of her latest venture in the Big Easy. acamayanola.com.
DISCOVER
Sol Food
A PUERTO RICAN RESTAURANT IN DOWNTOWN LEESVILLE MAKES ALL THE SENSE IN THE WORLD
Story and photos by Chris Jay
Each time the front door of Brenda’s Kitchen Puerto Rican Cuisine in downtown Leesville swings open, cool air carrying salsa music and the unmistakable scent of frying pork slips out. The flag of the Commonwealth of Puerto Rico, known as “la Bandera,” hangs in the window next to a sign that reads: “Welcome, Y’all!” Inside, multicolored pavas—straw hats traditionally worn by sugar cane cutters, coffee pickers, and other agricultural workers in Puerto Rico—hang from the walls. These straw hats represent the culture of jibaros, or rural farm workers. They signal to customers who are familiar with Puerto Rican culture to expect food that is hearty, unpretentious, and richly seasoned—in other words: expect country cooking.
Co-owner William “Rico” Sanchez Ocasio, a retired Army veteran, looks after the front-of-house, while his wife of thirty-seven years and co-owner, Brenda Ocasio, leads a small, talented team in the kitchen. Rico is from Baja Vega, a beach town near San Juan known for its numerous beaches and crystalline, electric-blue waters, while Brenda hails from Morovis, a small town further inland.
The couple opened the restaurant in September 2021 after a trial run selling plate lunches out of their home kitchen went surprisingly well. Neither of them had any experience in the restaurant industry, but Brenda was developing a reputation as an outstanding cook among members of the local Hispanic community. She’d learned to cook from her grandfather, Nitin Acevedo, who she recalls being one of the most revered cooks in Morovis.
“We have a lot of Mexican restaurants (in Leesville), but most of the Hispanic people here are Puerto Ricans,” Rico said. “My wife is very passionate about Puerto Rican cuisine, which is a blend of Taíno, Spanish, and African traditions. So, we decided to follow her dreams and to open the restaurant.”
Brenda and Rico wound up signing a lease on the former home of The Leesville Café, where locals had gathered to eat, socialize, and catch up on local news for ninety-five years. The space opened for the first time as a restaurant, Leesville Sandwich Shop, in 1929. It operated continuously as a family-owned institution, with only brief interruptions for renovations and changes of ownership, until it shuttered permanently in 2014. “In the past you could pretty well find out what was going on in the parish just by eating there,” a local told the Leesville Daily Leader in 1987, in one of many articles written over the years about whether or not the business could continue to survive economic hard times. It could be
argued that no other address has occupied a more central role, for a longer time, in the public life of Leesville, and that the Ocasios hadn’t just leased a building in the heart of Leesville ; they’d leased the heart of Leesville itself. Whether or not it could be brought back to life hinged on whether or not rural Louisiana had a taste for the cuisine of their rural homeland.
Much of the menu at Brenda’s Kitchen revolves around two staples of Puerto Rican cuisine: pork
and plantains. Carne frita consists of juicy, crispskinned chunks of golden-brown pork served with arroz con gandules, a savory mixture of seasoned rice and pigeon peas that is one of the national dishes of Puerto Rico. Thick, crisp green plantain chips called tostones are served with nearly everything that’s not already accompanied by mofongo, a garlicky, double-fried plantain mash. Costillas de cerdo are Puerto Rican-style pork ribs prepared in a pressure cooker and glazed with Brenda’s homemade
An empanada from Brenda's Puerto Rican Cuisine, described by the author as the best he'd ever had.
traditional menu with patience and without pretension.
“When I first came here, I had no idea about Puerto Rican culture or any of that,” Jordan said. “Then, when I saw the menu, I saw fried chicken and pork chops, and I was like: ‘Oh, y’all are doing Southern food!’ But those are staples of Puerto Rican cuisine, as well.”
Rico and Brenda have gone to great lengths to make the restaurant’s relatively small menu accessible to different types of guests. There is an American-style kid’s menu, but many Puerto Rican favorites, such as the undeniably fun and delicious empanadillas de pizza and fried sweet plantains, are already great for kids. Brenda’s signature mofongo can easily be made vegan. The fixed lunch and dinner menus, served Tuesdays through Saturdays, consist solely of dishes that are traditionally Puerto Rican, while daily specials provide opportunities for Brenda and
Top left: the kan kan pork chop; Top right: tostones rellenos; Botton left: fish tacos, a special on the menu the day the author visited.
Rico to experiment and have fun. Brenda’s take on birria tacos, which began as a one-off, has been so well-received that it’s become the restaurant’s Thursday special and one of its top sellers.
To round out the experience, there are Puerto Rican sodas like Coco Rico and Kola Champagne, as well as Medalla beer and a variety of hard-to-find Puerto Rican rums. Nearly every cocktail on the menu is made with rum, including a refreshing twist on the classic daiquiri that replaces the lime juice with passion fruit. For dessert, choose from three varieties of homemade flan (Brenda claims the cream cheese flan as one of her personal specialties) or tres leches cake.
Rico isn’t surprised by the overwhelmingly positive response he and Brenda have seen these past three years. From the beginning, they knew in their guts that honest home cooking, made with love, would find a receptive audience in a rural community that has never had a restaurant of its own in the area. Within a year of opening, Brenda’s Kitchen presented Leesville’s first-ever Hispanic Heritage Festival, which is now a popular block party held annually in mid-September.
“Just think about what the people need, what the people who you see every day want to have in their community,” Rico said. “If you give the people what they need, you can’t fail.” •
Outdoors
OUR SUSTAINABLE GARDEN
Build Your Canopy
5 REASONS TO STOP OVERTHINKING IT AND PLANT
THE TREE
Story by Jess Cole • Photos by Nikki Krieg
“Acts of creation are ordinarily reserved for gods and poets, but humbler folk may circumvent this restriction if they know how. To plant a pine for example; one neither need to be god or poet, one need only own a shovel. By virtue of this curious loophole in the rules, any clodhopper may say: Let there be a tree—and there will be one.”
— Aldo Leopold
In my experience, I find that people tend to overthink everything involving trees. There is the understandable fear of trees falling during storms on top of homes. There is the obsession to plant trees in “the perfect” space, at the “ideal” time. Then, there are the decisions of which tree species to plant in a world of thousands of options. I find, more often than not, the average person consumed with these worries ends up not even planting the tree at all, or planting less trees than they could have. The human need to control certainly has its setbacks, especially within the framework of the natural world.
My life, as of late, seems to be consumed by trees and the lack thereof. In addition to recently losing many trees in my woods to a storm, my team and I are currently engaged in a decade-long reforestation project in one of our local swamps. Our latest rendezvous there had us planting 12,000 nuttall oaks and swamp red maples in the grueling heat of July. Needless to say, I have been reflecting on the importance of trees, how they define the space in which we live, and how quickly they come and go. And I’ve come to a few conclusions:
Biodiversity
I will argue that nothing will benefit your garden and surrounding ecosystems more than planting native trees. Flowers and perennials are beautiful and add great benefit to our life and the critters in our garden, but trees bring it to the next level—hosting butterflies and other pollinators to a greater capacity than most herbaceous plants, and offering an abundance of food, refuge, and building materials to a wide array of insects, mammals, and reptiles. I see a lot of butterfly action in pollinator gardens within the city, but I find them tenfold when I am in a space surrounded by trees. And more often than not, I am encountering less common butterflies that do not make it to the city centers.
Tree planting might even be seen as a "lazier” way to support our pollinators; if planted well, at a cooler time of year, a tree (or many!) can be a really hands-off “pollinator garden”. Often more drought-tolerant than herbaceous plants and without the need to cut back or weed, native trees can be less needy than a perennial garden. Simply plant, help establish, and watch grow for the remainder of your life.
Shade
The reprieve offered beneath the branches of a tree is a wonder to me. We live in a world of continual urbanization; trees are coming down by the thousands every second, cement is getting poured everywhere, making conditions more hot and unbearable. Plant your yard with as many trees as possible and you will feel the difference. After losing so many of our trees in last spring’s storm, we now yearn for central air conditioning that we never previously needed. Those trees offered more shade and coolness than we knew.
Drainage
Nothing takes in standing water like a tree. Plant a tree that craves the water left by a summer rainstorm, and enter into a win-win symbiotic relationship. Avoid costly drainage projects, and embrace the natural powers of what trees have been doing for thousands of years. If you find yourself surrounded by cement, explore native trees and permeable surfaces as ways to combat drainage problems on your property.
Aesthetic/Design
As a landscape designer, I find that nothing shapes a human-altered landscape more than trees. Trees add height, they are your focal points, your welcome signs, your umbrellas. They ground a space and create structure. After studying residential yards for years, I realize I would rather see many trees in a yard with zero beds around a home than vice versa. Trees are the backbone of the landscape for me. Without them, the design feels incomplete. There are so many trees to choose from. You can choose a tree for a particularly elegant trunk form, for a lacey exfoliating bark, for fast height, for an evergreen nature, or many together for privacy. As far as I am concerned, you can find a tree or a grouping of trees to fulfill most aesthetic desires.
Something larger than yourself
For those of you out there eager to do something for this world—this is as cliché as I will ever sound: plant a tree. It's an action you can undertake that can shape the landscape and world long after you are gone. A tree you plant today can house many creatures, clean our air, beautify our skyline, and cast shade for a long future of family dinners beneath it.
I have many an arborist friend that will decry me for saying this, but I believe we should plant more trees and
August Plant Spotlight: American Sycamore, Platanus occidentalis
think less about it. What's the big deal if you plant a tree in the “wrong space” or at the “wrong time”? Move it next winter, or remove it entirely, and plant a new tree or two. So what if that tree might get topped off by city maintenance. Does it still benefit you and other creatures of this earth? And why does a tree have to look perfect/ideal to fit within our landscapes anyhow? Trees often don’t look perfect in the wild either; they are often growing “too close” to other trees (sometimes even growing within other trees!), competing with each other constantly, falling and resprouting from their base or somewhere else on their trunk. Trees do not follow rules. Besides, some of the coolest-looking trees I have seen have been mindlessly hacked at anyhow. There is
This tree thrives naturally at water’s edge, yet is untouched, seemingly, in drought. It has magnificent fall color and the type of leaf fall childhood dreams are made of, with a beautiful lacey exfoliating bark. It is a host plant to various moths and offers immense wildlife benefit, all around. Sycamores grow fast and large. They are an excellent shade tree and a great choice for fast gratification. Do not shy away from their majestic size… we need more large trees than anything these days. You can usually find one to transplant, for free, as they volunteer themselves readily along roadsides, in garden beds, etc. Wherever you see a mature sycamore, look nearby and you will find her offspring.
a line of sycamores planted in Baton Rouge’s Garden District neighborhood under power lines. They get “topped” every couple of years by the city. They are some of my favorite looking sycamores. This is not an argument to top trees or ignore the factors that allow trees to thrive. This is just an argument that trees live on without our intervention or personal feelings. We are worried about tree conditions a lot more than the trees themselves. I would rather see ten trees planted on instinct than one tree planted and overthought. Now, as our summer comes to a close it is a great time to consider trees and make a planting plan for the winter—when trees fall dormant and are under less stress when planted. •
ANGELA GREGORY:
Monuments and Architectural Commissions
Curated by Elizabeth Weinstein
August 23, 2024 - August 24, 2025
Opening Reception
August 23, 2024 • 6 - 8PM with a reading of “Reminiscences of Miss Angela Gregory” by Deborah Luke and a sculpting demonstration by Aliah James
SWEET THINGS TO DO
Wing Fest | Aug. 3
Anime Town Convention | Aug. 3-4
Gem & Mineral Show | Aug. 10-11
Herps Exotic Reptile & Pet Show | Aug. 24-26
Louisiana Custom Knife Show | Sept. 14-15
9/11 Heroes Walk/Run/Ruck | Sept. 21
Gonzales Hispanic Heritage Festival | Sept. 22
Sc an t o view o u r f ull c alenda r o f e v ents !
Come Full Circle
A TRADITIONAL NATIVE AMERICAN MEDICINE WHEEL IN HATTIESBURG
RE-ESTABLISHES ANCIENT CONNECTIONS WITH NATIVE PLANTS
Story by Mimi Greenwood Knight
Amidst the sidewalks, parking lots, and the glass, steel, and concrete structures of hthe 300-acre University of Southern Mississippi’s Hattiesburg campus, one finds a sudden oasis; a verdant healer’s garden, filling a circle of approximately 1,000 square feet, right in the middle of everything.
Derived from various Native American traditions, the university’s Medicine Wheel garden, also known as a “sacred circle” or “sacred hoop” features a design with a central focus and four paths radiating outwards, dividing the garden into separate pie-shaped beds.
“In addition to the four cardinal directions, the four paths represent the different seasons of the earth and the different seasons of our lives,” said Tammy Greer, an associate professor in the university’s school of psychology, the director of the Center for American Indian Research and Studies, and the garden’s creator and ongoing steward. “They represent the elements of fire, earth, water, and air and the mental, emotional, physical, and spiritual aspects of our lives. The medicine wheel teaches us that all these elements need to be in balance and equally
developed for us to be healthy, happy individuals and communities.”
The garden itself is made up of indigenous plants traditionally used by Native Americans not only for medicine but for weapons, pigment, cordage, basket weaving, housing, food, drink, and trade items.
Greer, who is a member of the United Houma Nation, first conceived of the project when graduate student Joe Bohanan asked her to assist with an on-campus powwow he was organizing. The event was being sponsored by the Golden Eagle Inter-tribal Society, a USM student group whose mission is to educate and inform about the ancient, historical, and contemporary presence of First Nations peoples in the Southeast.
“Native Americans are less than one percent of US academic faculty,” said Greer. “So, I was happy to do whatever I could to help bring this awareness to USM.” The event was a success and afterward Bohanan asked Greer, ‘What else would you like to bring to this campus?’”
Greer’s first thought was of the elders in her community who had spoken to
her about losing their connection to the natural environment. “Before 1830, this was Choctaw land,” Greer said. “When so many of our community were removed from this land, it left the others feeling like they had to lay low and stay to themselves. That really took a toll on our culture.” Consequently, Greer says many elders admitted to no longer knowing the names or the uses of the plants
that were once so important to their ancestors. She wondered if she could do something to reestablish the connection.
In 2005, Greer and Bohanan applied for and received a small grant from the non-profit Seva Foundation to begin construction of a garden that would include plants and healing herbs that had been the lifeblood of native communities in the Southeast region of the United States. Then, they approached University CFO Gregg Lassen and asked for land to install a traditional Medicine Wheel. “I thought they’d put us on some of USM’s wooded property,” Greer said. But Lassen offered them space smack in the middle of campus with the stipulation that they—not the university—would be responsible for tending it.
The spot they’d been given was so barren that there wasn’t even grass growing there—making the soil the first order of business. Greer and Bohanan trucked in a combination of soil, mulch, and organic material to lay out the wheel pattern.
“Joe and I didn’t know anything about native plants and where to find them,” Greer admitted, so the two of them dove deep into the study of traditional Native medicine and Medicine Wheels. Greer photographed the space from a third-story window and started taking her pictures to fairs and festivals to ask for native plant donations. People began contributing plants, but it was slow going.
Then, at a Choctaw Indian fair, Greer met an elderly couple who took an interest in her project. Shortly after their encounter, Joe and Merrill Willis arrived on campus with a vehicle and trailer overflowing with native plants. The garden was off and running.
Today, some plants growing in the Medicine Garden include rose mallow
Images courtesy of Tammy Greer.
The USM Medicine Wheel Garden as it was first being planted.
for treating dysentery and urinary ail ments. There’s coreopsis for making pigment, and salt bush for treating fever, colds, and flu. The coral honeysuckle has been used for centuries in Native cultures for basketweaving. “My ancestors used to throw this buckeye into slow moving water to stupefy the fish,” Greer said. “Then, they could scoop them out to serve at large gatherings.”
There’s swamp cane for constructing blowguns and flutes, devil’s walking stick for dye, wax myrtle for candles, and dozens more indigenous edible and medicinal plants growing together the way they once did under the hands of Indigenous healers.
“We have a domination paradigm in this country where we think, ‘This is in my way, so I have to get rid of it’ instead of considering whether we can live in harmony with it,” said Greer. “Down below all these plants are a community. They hold water in the ground and shade each other. They have a lot to teach us.”
Though Greer created the garden pri marily as a space for her community el ders to learn about the plants and study their medicinal properties, it also serves as an outdoor classroom for school field trips. The Mississippi Humanities Coun cil funds workshops where participants harvest plant medicines, pigments, and cordage from the garden. It’s a quiet place for USM students to study or socialize, for birds to build their nests, for butter flies to lay their eggs.
“We’ve taken too many wild spaces and made them into parking lots and homesteads,” Greer said. “These plants no longer have a place to be. If the native plants are gone, the bugs and birds don’t have a place to live. The birds don’t have bugs to eat. Pollinators can’t find pollen. This garden is here to remind us we still need all this wildness and diversity in our world and that there’s room for every one of us. Those are just some of the lessons it can teach us.” •
Tuscan Sunset, 24x24, oil by Betty Efferson
Quarter Bicycle, 24x48 oil by Carol Hallock
Some of the plants in the USM Medicine Wheel Garden, from top to bottom: Wild Poinsettia (Euphorbia heterophylla), Late Boneset (Eupatorium serotinum) Wild Senna (Senna hebecarpa).
Culture
OFFBEAT MUSEUMS
50 WAYNE NORWOOD, A LOUISIANA TREASURE // 52 HOW A FRIENDSHIP BETWEEN AN ARCHITECT AND AN ARTIST RESULTED IN A STATE-OF-THE-ART MUSEUM IN BILOXI // 53 BOOK REVIEW: KING OF THE GUN RUNNERS AUGUST 2024
X Marks the Spot
THE LOUISIANA TREASURES MUSEUM IN PONCHATOULA IS AN ARCHIVE OF A REMARKABLE LIFE
Story and photos by Samantha E. Krieger
Ten minutes west of Ponchatoula’s Memorial Park, of Strawberry Festival fame, lies the Louisiana Treasures Museum at 10290 Highway 22. A picket fence of hand-cut cypress boards, salvaged from a circa-1850 antebellum home, encircles several structures: old jails in the front; the tin-roof, driftwood-covered museum space; and small rental properties in the back.
By the tales eighty-three-year-old property owner Wayne Norwood spins, one might imagine he has lived a dozen lives: serving in the army and FBI, working as a police officer and recovering bodies in the water as a diver, starring as the sheriff in Cryptid: The Swamp Beast, and climbing Mount Rainier, among others. Each life comes with an accumulation of collected artifacts. About ninety percent of the displays in the Louisiana Treasures Museum are Norwood’s; friends and visitors donated the rest.
At the entrance of the museum, the
gold-lettered words ‘Gone But Not Forgotten’ overlook a wall filled with over five hundred photographs of Louisiana officers killed in the line of duty, each featuring a photograph, name, and cause of death. The Louisiana Law Enforcement Memorial is an ongoing project of particular importance to Norwood and his wife Debbie, who co-owns the museum with him; both are retired officers.
Norwood’s introduction to collecting was unusual. As a recovery diver for the Tangipahoa Parish Sheriff’s Department, he was tasked with retrieving human remains from Louisiana water bodies. During one of his searches, he discovered a hand-blown bottle from around 1750 and caught the collecting bug. Norwood collected so many artifacts diving in Lake Pontchartrain and the Gulf of Mexico that he had to build the current museum to store it all. “I got a shed at home bigger than this, and it’s full with even more stuff,” Norwood said. “I got two thousand bottles at home!” Indeed, he has
collected so much that he will urge visitors to leave with souvenirs to make space. When asked if he would ever consider sipping from one of his many bottles, many of them sealed tight with mysterious contents inside, he laughed.
“I don’t drink, but everyone who comes in here tells me it would be potent!” No longer diving, Norwood still strolls Lake Pontchartrain at low tide for items that wash ashore.
‘Entertaining’ and ‘thorough’ best describe Norwood’s tour of the museum.
“That’s my first wife right there,” Norwood said, gesturing to a seated plastic skeleton. “I told her I’d never leave her!” We reached a section of the museum’s wall adorned with unique walking canes. “When I get old and I need some protection, I’ve got this!” Norwood said, unsheathing a two-piece cane with a sword concealed inside.
Walking through the building, you start noticing that the museum is as much a container for Louisiana treasures
as it is an archive of Norwood’s colorful life. Newspaper clippings and photographs headline unbelievable feats: Norwood apprehending six robbers as an officer, or holding one of one hundred alligators he moved from one pond to another in a single day. There’s a photo of his wife holding a bear cub named Oreo, who they raised for thirty-five years, and another of his mother playing with “his other pet”—a bobcat. There are karate trophies, too, from when Norwood competed in karate tournaments, at one point winning the United States championship. Ask Norwood to expand on any of these stories, and he’s already moved on to another treasure.
Passing a small bottle of kerosene, Norwood tells me stories about when he was growing up in Ponchatoula, and his mother used it as a medicine. “A million times I stepped on a nail or cut my foot or something, and Mama would say, ‘Go get the kerosene can and pour it on there.’” Objects as inconsequential as an
Wayne Norwood, owner of the Louisiana Treasures Museum. pictured holding a magazine feature on his interests as an amateur historian. Photo by Austin Krieger.
old restaurant menu (whose most expensive item was a strip sirloin from $2.85-3.85) or an iron jumpstart Norwood’s memory, providing a glimpse into a life unknown today. “In the wintertime, all we had was a wood stove. Mama and them would put one of these [irons] on, and when you were getting ready to go to bed, you [got] it real hot, wrapped it in a towel, put it at the foot of the bed, [and] kept your feet warm,” Norwood said. Grabbing a pair of tongs, he explained that his family had an ice box but no refrigerator; a man would visit their house twice a week, early in the mornings, to drop off a large block of ice with the tongs. His rate was forty cents per week.
Other items of note include a silver 1940s Galatoire's coffee cup, taxidermied trophies of elk, geese, and mountain lions; and uniforms, canteens, and a circa-1917 footlocker from various American wars. There are displays of Native American artifacts, including cooking stones, arrowheads, jewelry made from animal bones, pottery, and a raccoon baculum—used as a toothpick. There are also many items retrieved from St. John Parish after it was ravaged by the Hurricane of 1915—a subject Norwood is a particular expert on, having researched and written the book The Day Time Stood Still: The Hurricane of 1915 about survivor Helen Schlosser Burg. •
The museum is open Saturdays from 9 am–3 pm and Sundays from 11 am–3 pm. Visitors can also schedule appointments outside of these days, such as for senior and school groups. Admission is $8. Visit the Louisiana Treasures Museum Facebook page or call (225) 294-8352 for more information.
Friday, August 23 at 9PM
Wednesday, August 7 at 8PM & 8:30PM
Frank Gehry's "Dancing" Museum
CELEBRATING THE ARTISTIC COLLABORATION BEHIND THE OHR O'KEEFE MUSEUM, A PROJECT TWENTY YEARS IN THE MAKING
By David Houston and Jordan LaHaye Fontenot
In early 2025, one of the Gulf Coast’s most anticipated architecture projects will finally be complete, after almost twenty years. The Ohr hO’Keefe Museum of Art in Biloxi, Mississippi, designed by one of the country’s most preeminent architects Frank Gehry, has faced funding, zoning, and disaster-related delays that go all the way back to Hurricane Katrina, when the storm threw the Grand Casino Biloxi onto the museum’s African American Gallery. Progress has been ongoing ever since to realize Gehry’s hyper-modern, podlike design, which echoed the aesthetic of the “mad potter” George Ohr for whom the museum is named and envisioned the building “dancing” among the property’s massive live oaks. In the spring of 2023, the museum received a $1 million grant from the Mississippi Gulf Coast Restoration Fund to finally realize Gehry’s complete vision.
In anticipation of the museum campus’s completion, a recent exhibition at the museum celebrated Gehry’s immense body of work, with a focus on his longtime collaboration on the Gulf Coast with artist and urban planner Robert Tannen. It was Tannen, after all, who— while on the fundraising team for the new museum in the late 1990s—recommended Gehry for the job as architect.
Called Art, Architecture, and Ideas: Frank Gehry and Robert Tannen, the exhibition chronicled the evolution of a friendship in creativity.
Robert Tannen
Tannen grew up in Seagate, America’s first planned community on the southernmost tip of Coney Island, New York. As a young man, he began carving and sculpting and on the beach near his family home often created stacked sculptures composed of found objects washed up on the shore. Found materials, conceptual exploration, and word-play have been hallmarks of his artwork throughout his career and stand in stark contrast to his work as an urban planner. After graduating in the 1950s from Pratt Institute with studies in art and urban planning, Tannen maintained a professional trajectory that includes, simultaneously, both disciplines. After a stint on the faculty of Franconia College, and employment with The Lazy Eight and Rand think
tanks, in 1969 Tannen relocated to the Gulf Coast of Mississippi where, after the devastation of Hurricane Camille, he drew up transportation and neighborhood development plans for the city and created a master plan for the region.
Tannen’s interests are wide-ranging and include a large body of work in both the public and private spheres that touch on the economic and political consequences of our everyday choices in the present and for the future. From bridges to new towns in the desert of Iraq, his planning, like his artwork, is both playful and responsive to larger social concerns. Working in New Orleans and on the Gulf Coast, he has long been concerned with our changing environment and its implications for infrastructure and way of life. The Crescent City has benefitted from his innovation, which resulted in his master plan for the second span of the Mississippi River Bridge, his overseeing the creation of a citywide neighborhoods historic districts plan, and his selection of the site for the 1984 Louisiana World Expo that forever changed the riverfront. His multi-media art practice has been exhibited across the world and at all of Louisiana’s most esteemed institutions, including the New Orleans Museum of Art, the Ogden Museum of Southern Art, the Hilliard Art Museum, the Contemporary Arts Center (of which he was a founder), and various galleries.
The exhibition at the Ohr O’Keefe Museum was neither an overview nor a retrospective, but it covered Tannen’s body of work, ranging from painting, drawing, sculpture, and ceramics produced over a period of half a century. For example, four boulders marked N, S, E, A and W–placed just outside the exhibition space—once resided in New Orleans, turning Lee Circle into a giant compass.
Frank Gehry
At ninety-five, Gehry is considered by many the greatest living global architect. From the early renovation of his family home in Santa Monica to the present, his work has redefined the expressive possibilities of architecture. Works such as Disney Hall and the Guggenheim Bilbao Museum serve as contemporary icons of what is possible in architecture.
Alongside his architectural work, Gehry has maintained a creative trajectory that includes ceramics, sculpture, furniture, product design, and drawing. Connecting him to the legacy of the museum’s namesake George Ohr, the recent exhibition included two early unseen narrative ceramic works he executed as a teenager, as well as a recent edition of sculptural ceramics for Tiffany. One of the goals of the exhibition was to showcase Gehry’s creative process across media, from the first simple massing of space to the final design concept. Seven different study models for a large fish sculpture clearly demonstrate Gehry’s enduring concern throughout his career with energy and movement. Included in the exhibition was a film by Sydney Pollock in which Gehry and his assistant Craig Webb finalized a design for the Ohr O'Keefe Museum’s African American Gallery, the very building that housed the exhibition.
The Friendship
Gehry first met Robert Tannen and his wife and partner Jeanne Nathan in New Orleans in the late 1970s. The friendship resulted in a long collaboration that includes an ecological museum in Panama, an amphitheater for the 1894 New Orleans World’s Fair, and the OhrO’Keefe Museum itself. Most recently, the two completed an oceanfront house in Pass Christian last year for New Orleans artist Tina Freeman. Called “The Gehry Gun,” the house is a modified shotgun featuring a central dog-trot inspired porch—originally designed as a functional prototype for affordable and environmentally sustainable housing that simultaneously meets the expectations of the region’s historic architecture.
With support from The Coastal Restoration Fund, the final phase of the Ohr O'Keefe Art Museum campus construction will be completed in early 2025. The exhibition Art, Architecture, and Ideas inaugurated a year of focus and celebration of this completion, which will culminate in a Gala party and reception at the Beau Rivage Casino in Biloxi in the last week of April, 2025. •
David Houston is the Executive Director of the Ohr O'Keefe Museum. Learn more at georgeohr.org.
Left: a model of Frank Gehry's plans for the Ohr O'Keefe Museum in Biloxi—which will be completed after twenty years in 2025. Right: the museum campus as pictured in 2019. Images courtesy of the Ohr O'Keefe Museum.
BOOK REVIEW
King of the Gun Runners
JAMES W. MILLER'S ACCOUNT OF
AN UNDERSTUDIED
PIECE OF AMERICAN HISTORY IS A BUSTLE OF COMMERCE, JOURNALISM, AND MIGRATION
By Chris Turner-Neal
By the 1890s, the once gargantuan Spanish empire was a reduced, rickety rump of its former glory. The American mainland from Mexico to Tierra del Fuego was now a constellation of independent states, leaving Spain with only a few little nibbles of Africa and some far-flung islands. Cuba—rich, fertile, and conveniently placed—attracted attention from the United States: its fruit and tobacco enriched American shippers, its struggles for independence tugged at American heartstrings… and many hoped that, the next time Spain stumbled, the island would fall into Uncle Sam’s hand like a ripe apple. Americans interested in shaking this metaphorical tree, usually with the mixed motives of excitement and enrichment, could help funnel guns, exiles, and supplies to rebels on the island, dodging both American and Spanish patrols on the way out and returning with innocent faces and cargoes of Caribbean or Central American fruit, ripe for the market. This couldn’t last—and didn’t, with the uneasy situation exploding into the Spanish-American War in 1898. Puerto Rico, Guam, and the Philippines did drop into the reaching American hand; Cuba, famously, took another path.
James W. Miller’s King of the Gun Runners brings this slice of the Gilded Age to rambunctious life. Using the life and careers of John D. Hart—intermittently successful fruit importer by day, arms supplier to Cuban revolutionaries by night—Miller makes the countdown to the war with Spain real, filling in the gaps left by timeline-focused American history classes. (“Reconstruction ended in 1877, everyone rested, and then the war with Spain in 1898.”) The bustle of commerce, journalism and migration bristles through the text. If Hart himself is occasionally overshadowed by the many, many big personalities competing for the reader’s attention, this does not rise to the level of a weakness of the work: gunrunners, freedom fighters, and those who work with and against them tend to be action-oriented—and to invite the spilling of some ink. Anchoring Hart as both a central actor but also an example of the kind of person who got involved in supporting the Cuban rebels allows Miller to shape his text and give the whole busy period of misadventure and derring-do a greater coherence.
Miller takes obvious pleasure in his topic, writing with swashbuckling verve: running for office is “the seductress of the vainglorious” and gunrunning is “an exclusive club whose entry fee was courage and whose success was measured in survival.” This elan can lead him to be uncritical—do we really think Jamaican dockworkers loaded eighty-pound bunches of bananas through “sweat and good humor”?—but on the whole the reader will have the pleasure of joining an author who is clearly having fun. Miller’s digressions are well chosen to build context and atmosphere, a hallmark of the best historical writing. Imagine a world in which a banana is a rare delicacy, and in which the bold but naïve souls who scavenge fallen fruits from the dock don’t know to peel them; think of the brave and optimistic African Americans who abandoned the tightening fist of Jim Crow to try to improve their lot in resettlement schemes in Liberia, even as Europe poured immigrants into the United States. The story will captivate readers, but it’s this setting and detail that most compelled me—what one would call “world-building” if it were fiction. To read King of the Gun Runners is to escape into an exciting and deftly illustrated era of the American past and to better understand how this chapter forms the prologue of the country’s subsequent complicated relationships with the “banana republics” we would fail to remake in our own image. •
Find King of the Gun Runners at the University Press of Mississippi, upress.state.ms.us.
Whisked Away
By Cheré Coen
If there was one real estate purchase that has come to define Michael Craven’s career, it would be the Hotel Whiskey. And the property came to him completely by accident.
Craven and his family partners had been renovating historic properties in New Orleans and Mobile for years. While looking up a vacation property on the Gulf Coast he was interested in, he clicked a wrong link—which brought them to Hotel Whiskey, a struggling hotel and restaurant for sale in the heart of Pass Christian. On a lark, Craven delivered an offer, never thinking the owners would accept. But they did, with minimal negotiation.
“I hadn’t talked to my partners,” laughed Craven. “I hadn’t talked to my wife. I hadn’t talked to anyone.”
Upon acquiring the hotel, his team set to pumping up advertising—placing the hotel on Google, Expedia, and other online travel agencies and search engines. “Our objective was to make sure people knew we were there,” Craven said. “We pushed occupancy from an estimated thirty percent to ninety percent in two years.”
After Hotel Whiskey became a vital anchor to downtown Pass Christian, which has seen a renaissance since Hurricane Katrina in 2005, the success made Craven rethink his future. Since then, under the consortium of “Whiskey Properties,” he has opened Whiskey on the River in 2022, a collection of cabins outside Hattiesburg that are completely off the power grid, and Hotel Whiskey Pascagoula, which opened this spring. And plenty of future plans are in the works.
From Warehouses to Whiskeys
A native of Metairie and current resident of Baton Rouge, Craven started renovating historic properties with his contractor brother Danny Craven, Jr. and father Dan Craven, along with other partners, in 2010. One project took two old warehouses on Chartres and Decatur streets in the French Quarter and transformed them into housing. The Chartres building, built in 1910, sat on a lot that had previously housed a shirt and pants factory and had fallen victim to the fire of August 30, 1908. “It’s unclear to me from [records] if that property was a total loss, or just really badly damaged,” said Craven. Regardless, the current building that stood there required a complete interior overhaul. “It was an interesting rebuild,” he said. “Some of the things we found inside were incredible.”
The company’s goal was not just to bring old buildings back on to the market, but to take a sustainable approach to restoration and real estate—prioritizing historic preservation and the use of renewable energy when possible. “It’s what I’m mostly excited about,” said Craven. “I’m not throwing up a brick building, I’m putting one back in service.”
A few years after opening Hotel Whiskey in Pass Christian, Craven was asked to consider a rural parcel of land on the Leaf River in Petal, Mississippi—just east of Hattiesburg. The property fronted the river, framed by ancient oaks and magnolias.
“It was unbelievably beautiful,” Craven said. “It was raw land. There was no road. We had to cut through
MICHAEL CRAVEN'S WHISKEY PROPERTIES ARE PASSION PROJECTS OF HOSPITALITY, PRESERVATION, AND RENEWABLE ENERGY
Top to bottom: Hotel Whiskey Pass Christian, Whiskey on the River, and Hotel Whiskey Pascagoula. Images courtesy of Whiskey Properties.
hunting trails. I hadn’t been on a piece of land like that in my lifetime—it was untouched.” Along the slow-moving river was a pristine beach that, according to Craven, had likely not been used in hundreds of years.
After carving out roads into the 100-acre property, Craven’s brother Danny built a series of cabins, each with a master bedroom, kitchen, and seating area on the first floor and two twin beds in the upstairs loft. All cabins are raised off the ground, with the porches open to views of the woods and river, and one wall closed to
ensure privacy from adjacent cabins. Ice machines and laundry facilities are located on site.
The property, dubbed the “Whiskey on the River” and opened in 2022, is entirely off grid, with a bank of solar panels providing electricity to the cabins’ lights, kitchenette appliances, A/C and heat, satellite Wifi, and smart TVs. A back-up generator ensures the power never goes down. “We’re completely a little town back there,” said Craven.
In winter, the sun shines through the empty canopy, providing natural light and warmth. In the summer, the shade from the thick woods provides relief from the semitropical heat. The summer also offers the refreshment of dips in the Leaf River. Guests can enjoy the tranquil waterside experience of the private beach onsite, or take advantage of Pinebelt Blueways’ guided float trips on both the nearby Leaf and Bouie rivers. Members of the nonprofit will pick up visitors at their cabin doors for kayak and canoe trips on the Leaf—with stops on sandbars and swimming in the placid river, ending up back at the property’s beach.
There are also several hiking trails on the property, including a fascinating trek to the Porter J. Myers family cemetery. When carving out trails, Danny Craven discovered the tombstones of Porter Myers and his wife Renvy, who came to the area from South Carolina in 1822. Porter lived on thousands of acres along the Leaf River and served as the area’s representative in the state legislature. He was the largest landowner to be elected to the Mississippi Constitutional Convention of 1861 and was one of fifteen men who voted against Mississippi’s secession.
In nearby Pascagoula, where a movement is underway to revitalize the downtown district, Craven took advantage of government incentives to open a new hotel, similar in design to Hotel Whiskey in Pass Christian—but this time built from scratch.
“The city received grants and they were trying to figure out how to reemploy them into their downtown,” he said. “The hotel was a key.”
Hotel Whiskey Pascagoula opened in April 2024 on Delmas Avenue in the heart of downtown, with hotel rooms for overnight guests and one-bedroom suites and efficiencies with full kitchens for employees of the local shipbuilding and oil industries. In addition, Uncle Joe’s Pizza and Wings opened its newest location on the hotel’s ground floor, adding another dining option to Pascagoula’s downtown.
Like the Petal property, Hotel Whiskey Pascagoula was built for sustainability. The company installed a GAF solar roof that produces thirty percent more power than the Petal property, Craven said. From the street, visitors would hardly notice the solar panels. “It’s really cool and it’s pretty too,” Craven said of the roof, which is directly connected to Mississippi Power. “Pretty in a unique way.” The property also offers Tesla chargers for electric vehicles.
“I have high hopes for it,” Craven said of his new investment. “I think Pascagoula’s a really neat little town.”
In the Works
Whiskey Properties is already looking for new projects, including building a hotel on a Jeff Davis Avenue lot across from the Long Beach library and public park. Like in Pascagoula, this will be a hotel built from the ground up. Craven estimates the 27-room property will be available for bookings in 2026 .
“We’re right in the middle of town,” he said. “It will be our biggest project yet.”
Other ideas in the works include a historic renovation in Gulfport and hotels in Ocean Springs, Gautier and possibly Laurel, Miss. •
whiskeyproperties.com.
Top: Mornings at Whiskey on the River Bottom: Whiskey Prime, the restaurant at Hotel Whiskey Pass Christian.
Directory of Merchants
Baton Rouge, LA
Alzheimer’s Service of the Capital Area 41
Allwood Furniture 21
Becky Parrish Advance
Skincare 53
Blue Cross Blue Shield 14
BREC 29
BREADA- Main Street Market 57
East Baton Rouge Parish
Librar y 60
Elizabethan Gallery 49
Lagniappe Antiques 49
Louisiana Public Broadcasting 51
LSU Museum of Art 20
Manship Theatre 22
Pennington Biomedical Research Ctr. 35
Stafford Tile & Stone 3
The Foyer 6
Tigers Trail RV Resort 42
Window World of Baton Rouge 33
WRKF 89.3 FM 53
Brookhaven, MS
Brookhaven Tourism Council 42
Corinth, MS
Corinth Area Tourism Promotion Council 13
Greenwood, MS Greenwood MS CVB 2
Hammond, LA
Tangipahoa Parish CVB 59
Harvey, LA
Vicari Auction Company 17
Houma, LA Houma Area CVB 24
Jackson, MS Visit Mississippi 5
Lafayette, LA
Allwood Furniture 21
J & J Exterminating 30
Mansura, LA
Avoyelles Tourism Commission 25
Mandeville, LA Visit the Northshore 15
Morgan City, L A
Cajun Coast CVB 19
Natchez, MS
Katie’s Ladies Apparel 44
Natchez Pilgrimage Tours 45
New Iberia, LA Iberia Chamber of Commerce 31
Iberia Parish Convention and Visitors Bureau 23
New Roads, LA City of New Roads 29
New Orleans, LA
Bevolo Gas & Electric Lights 9 Historic New Orleans Collection 12
Stafford Tile & Stone 3
Opelousas, LA
St. Landr y Parish Tourist Commission 31
Plaquemine, LA
Iber ville Parish Tourism Department 36
Port Allen, LA
West Baton Rouge Museum 47
West Baton Rouge Convention and Visitors Bureau 16
Scott, LA
Bob’s Tree Preservation 7
t, LA
LA
LA
Up Plants
Cafe Inc. 51 Mead Acupuncture Therapy
St. Francisville Food & Wine Festival 10 The Conundrum Books & Puzzles
The Myrtles Plantation/ Restaurant 1796
Town of St. Francisville
Feliciana Historical Society
Parish
Audiowood
WHERE NATURE MEETS TECHNOLOGY MEETS DESIGN, AND SOUNDS GREAT
By Jordan LaHaye Fontenot
In April, 2008, Rasputin Music record store in Mountain View, California hosted an appearance by the legendary heavy metal band Metallica as hpart of the inaugural Record Store Day—a coordinated attempt to breathe new life into the near-obsolete vinyl record industry. By all accounts it worked; that first Record Store Day is credited with launching a revival of interest that resulted in a 147% increase in sales of vinyl records that year. And sales have been going up ever since.
When the revival came, artist Joel Scilley was ready. He’d grown up revering the experience of playing records, rushing home from school each time he got hold of a new album to lay it on the turntable, then study the album cover graphics, lyrics, and liner notes while he listened. “That was like the best thing ever, right?” he said. In 2008, Scilley was working as a custom carpenter and designer in the San Francisco Bay Area—a career that followed a decade spent studying English, art, design, and architecture at Hobart College, Parsons School of Design, and Carnegie Mellon University, and earning a Ph.D in Rhetoric and Communication at the University of Pittsburgh.
“The way I would describe the carpentry I was doing is ‘design-and-build’ work,” he said. “I was essentially doing whatever people wanted me to do. Sometimes that was restoring murals in their houses. Sometimes I was building kids’ playhouses. If I was building out an office space, I might end up building the desk that goes in the office, do the tile and walls and lighting. I was building out wine rooms for people.”
When he wasn’t working, Scilley was still indulging in his love for music—“I was going to see, probably, two to three live shows every week,” he said. “That was part of my day-to-day experience.” He was exhibiting charcoal and graphite drawings, as well as some photography, in art galleries in San Francisco. And he was experimenting with woodworking projects at home.
One of those projects involved adapting a “really ugly” vintage turntable into something more aesthetic. “I took it apart, and fitted the parts into a piece of live-edge redwood,” he said. “I had these friends, artists, who would come to the place and say, ‘That’s the coolest thing I’ve ever seen.’” So he began making more, each one unique
and carefully constructed to balance optimal functionality with beauty, using high quality, sustainably sourced materials.
Inserting himself directly into the first wave of the vinyl renaissance, Scilley launched his company Audiowood later that year, and found himself instantly catapulted to boutique audiophile fame. The nature of hand-crafted wooden artistry spoke right to the very nature of the new generation’s captivation with vinyl—its appreciation of nostalgia and tactility. What’s more, at that time, most of the legacy audio brands had ceased or diminished turntable production in response to lack of demand. “There just weren’t that many places to get a new turntable any more, back then,” said Scilley.
Over the course of the next few years, Scilley and Audiowood were featured in dozens of major design publications across the world, including Apartment Therapy, Gizmodo, Thrillist, The New York Times, and others. His “Barky” design was especially popular—“embarrassingly simple” as he describes it, but gorgeously assembled from slices of ash wood sanded flat and individually designed to embody the wood’s natural shape and grain. The press the “Barky” drew attracted the attention of fashion and home goods retailer Anthropologie, who placed a large order from Scilley.
Works of art that meld form and function, Scilley’s turntables have been exhibited in galleries across the country and are owned by celebrities that include Adrien Grenier, J.J. Abrams, and Elijah Wood. Scilley himself has garnered a trove of awards for his designs, including being named one of Apartment Therapy’s “8 Tech Designers to Watch” in 2008, receiving the “DANDI Award for Accidental Entrepreneurship” in Tallahassee in 2011, and being named one of New Orleans Magazine’s “People to Watch” in 2015. In 2013, a turntable he dubbed “The Bachelor” was featured as Captain Kirk’s record player in the film Star Trek: Into The Darkness. That same year, Scilley followed his love for live music to New Orleans, and quickly tapped into the local creative scene, joining Where Y’Art Artist Collective and exhibiting at Ariodante Gallery and the Ogden Museum of Southern Art. He described his first showing at the juried Contemporary Crafts showcase at the Jazz and Heritage Festival as “a big step forward”. Today, he
still operates his studio in New Orleans, where more than a decade on, custom turntables remain his signature product.
The surge of business Scilley experienced in the wake of that initial rebirth of vinyl has now quieted—though not because of a loss of interest in vinyl, of which production is currently almost doubling each year. “It’s that there is competition where there wasn’t before,” said Scilley. To meet the demand, there are now far more businesses manufacturing turntables, “and I’m no longer the only custom option out there,” he said.
This has allowed him time to explore his other creative interests and explorations—pushing his interests in combining organic design and technology in ways that go beyond the scope of function or even beauty. This hatched Scilley’s ongoing project, Hybrid Relics which he began developing while an artist-in-residence at the Joan Mitchell Center in 2021. “I had this crazy idea, which is kind of a science fiction art project,” he said. “The idea is to create these sculptures that are sort of—it’s as though someone made a discovery of these mysterious sculptures and has no idea where they came from.” Hybrids of technology and natural forms, some of Scilley’s Relics include a “Dead Canary Finder,” which looks like a tree trunk with wires and electrons, spinning around with feathers attached to it. There is also a “Tree Washer,” a mechanism that has bristles and spins to hit a tree branch. “Like, why would we wash a tree?” asks Scilley, laughing. “It’s sort of got this comic element, but it's also sort of weird and spooky. What was this meant to do? Who did this?”
More recently, he’s been working on a series of hyper-detailed miniatures of New Orleans music venues. Created mostly using scrap wood, the architectural sculptures depict instantly recognizable spots such as Lafitte’s Blacksmith Shop Bar, The Maple Leaf, or Snake and Jake’s Christmas Club. The kicker? They’re all designed for audio integration, turntables and stereo systems behind the backdoor or in the “basement”.
Just imagine, “Your favorite bar, it’s your stereo.” •
See more of Scilley’s work at audiowood.com and keep an eye out for a future (secret, for now) project in early 2025.
A custom wooden turntable by Joel Scilley, called “Amoeba”. Photo courtesy of Scilley.
