Gambit Digital Edition: May 9, 2023

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French Immersion Teacher (Multiple): Teach all primary subjects in French language to preK, K &/or elementary school students at French immersion school Reqs: BA or equiv or higher in French Language, Education, Communications, or related (in lieu of BA, employer will accept any degree, program of study, or number of yrs of education in the same fields, domestic or foreign, that will permit the incumbent to receive LA teacher cert); 2 yrs’ teaching exp.; excellent teaching ability; Native or near-native fluency in French & English; LA teacher cert (French) or eligible Mail resume to Birdell Mitchell: Lycee Francais de la Nouvelle Orleans, Inc , 5951 Patton St New Orleans, LA 70115

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Dream team

The NOLA Project presents ‘A Midsummer Night’s Dream’ in the sculpture garden

NOLA PROJECT ASSOCIATE ARTISTIC DIRECTOR BRITTANY N. WILLIAMS

PUBLISHED her young Adult novel “That Self-Same Metal” two weeks ago. The historical fiction features characters named for characters in William Shakespeare’s “A Midsummer Night’s Dream,” and there’s even a production of the play in the book. In part, that’s because Williams loved the play as a kid.

“I have been a Shakespeare nerd since elementary school,” Williams says. “I watched ‘Shakespeare: The Animated Tales’ on HBO. My favorite episode was when they did ‘As you Like It’ with marionettes.”

Now she’s directing “Midsummer” for the NOLA Project in its second production of the popular comedy in the Sydney and Walda Besthoff Sculpture Garden. It runs May 10-28.

“Midsummer” has a boisterous mix of subplots. Theseus, the Duke of Athens, and the Amazon Queen Hippolyta are days from getting married and don’t want distractions. But Egea wants the Duke to force her daughter Hermia to marry Demetrius. But Hermia loves Lysander. And Helena complains that no-one loves her at all.

Meanwhile in the forest, Oberon, the king of the fairies, is feuding with Titania, their queen. He enlists Puck to use magic to punish her, and the mischievous sprite is only too happy to oblige.

And some of Athens’ workers (often referred to as the “mechanicals”), including Peter Quince the carpenter and Nick Bottom the weaver, are a bumbling group of amateur actors rehearsing a play to perform for the royals at the wedding, the jinxed love story of Pyramus and Thisbe.

Most of the characters end up unwittingly crossing paths in the woods as they chase their loves, flee from authority and mysterious happenings, or just try to learn their parts. It’s a play full of machinations, mistaken identity, crude innuendo and whimsy. It’s also got slapstick level humor.

“It’s one you encounter a lot in school because the scenes with the mechanicals are so funny,” Williams says. “Those are the most accessible for everyone. The language is in prose instead of verse, so it’s easy to speak.”

The NOLA Project production features a crew of longtime

company members as the mechanicals. Company Artistic Director

A.J. Allegra plays Peter Quince, who wrangles the actors as the director of the play within the play.

James Bartelle is Bottom, who is assigned Pyramus but wants to play all the important roles himself. Keith Claverie is Francis Flute, who isn’t happy with the role he draws.

The fairies are not as bumbling, though they do endure some mishaps. Williams sees them as a bit more scary and powerful than the sprites in many fairy tales. They have dominion over the forest where much of the play happens.

That interest reflects the play’s part in her book. “That Self-Same Metal” follows Joan Sands, a teenage heroine who has magical powers to manipulate metal.

“I can’t tell a fae story in Shakespeare’s London and not have a performance of ‘A Midsummer Night’s Dream’ happen,” Williams says with a laugh.

The adventure is set in London at Shakespeare’s time, and Joan maintains the blades for Shakespeare’s theater company, the King’s Men. She has a twin brother who is an apprenticing actor with the King’s Men, and a la “Twelfth Night,”

Joan is mistaken for him when she secretly appears in his place in a production of “Midsummer.” But things do not go according to plan.

Williams doesn’t have the same swashbuckling plot twists in mind for this production.

by Will Coviello |

Trevor Noah

SOUTH AFRICAN COMEDIAN AND AUTHOR TREVOR NOAH departed “The Daily Show” in December, after seven years as host. He also hosted the last three Grammy Awards ceremonies and recently announced he’d be producing a U.S. version of the British late night political comedy show “Mock the Week.” He brings his stand-up act to the Saenger Theatre at 8 p.m. Friday, May 12, and 7 p.m. Saturday, May 13. Find tickets via saengernola.com.

Even with the magic and mayhem, Williams sees it as a drama about passions.

“Everyone in this play is extremely passionate about specific things that they want,” Williams says. “Hermia is my favorite character. She’s combative, she’s fiery, she’s enthusiastic.

“Feeling these extreme highs and lows — for me, it’s like being a teenager and everything feels like the greatest thing in the world or absolute devastation. But in hindsight, it wasn’t that bad.”

The production is in the sculpture garden’s Oak Grove, with its giant oaks, Spanish moss and large lawn. The costumes reflect teen styles of the y2K moment, Williams says, and some music used also is from the early 2000s. There also are a few special flourishes with the fairies who assist Oberon and Titania, as well as some other ceremonial touches.

The NOLA Project first mounted “Midsummer” in the sculpture garden 12 years ago. The production was very well received and helped forge the ongoing partnership between the company and NOMA, paving the way for annual spring shows in the garden, as well as shows inside the museum. For tickets and information, visit nolaproject.com or noma.org. There will be a food truck and a bar at the production.

KOKOKO!

THE EXPERIMENTAL MUSIC GROUP KOKOKO! STARTED MAKING MUSIC with instruments they crafted, often out of junk and reclaimed materials, in 2016 in Kinshasa, the capital of the Democratic Republic of Congo. As the group became part of a growing art scene, it’s added conventional instruments, but some percussion is still done with bottles or scrap metal, as in its NPR Tiny Desk concert. The group is on tour of the U.S. and making music with conventional and improvised instruments, electronic effects and lyrics in French, Kikongo, Swahili and more. In New Orleans, it’s of course performing amid the musical architecture of the Music Box Village. At 8 p.m. Wednesday, May 10. Tickets $25 via musicboxvillage.com.

SRSQ

SINGER-SONGWRITER KENNEDY ASHLYN WAS PART OF THE EXCEPTIONAL DREAMPOP/DARKWAVE DUO Them Are Us Too (TAUT) until her friend and bandmate Cash Askew tragically died in the 2016 Ghost Ship fire.

PROVIDED PHOTO BY BRITTNEY WERNER

PROVIDED PHOTO BY MATT WILSON/NETFLIX

Wdding W ddingSouth er n

With festival season wrapping up, it’s time for Oh God It’s So Hot I’m Dying season!

THUMBS UP/ THUMBS DOWN

Mel Buchanan, the RosaMary Curator of Decorative Arts and Design at the New Orleans Museum of Art, has been appointed by President Joe Biden to a committee focused on the preservation of the White House. Buchanan is among a group of 13 appointees to the committee, which includes professionals experienced in historic preservation, architecture and decorative arts. Buchanan has been with NOMA since 2013.

Lawmakers ok anti-trans measures, reject minimum wage hike

The Louisiana Conference of the American Association of University Professors, the state chapter of a group focused on academic freedom at the collegiate level, recently adopted a resolution rejecting the Louisiana Republican Party’s call for lawmakers to strip state institutions of diversity, equity and inclusion departments. The conference says such efforts chill educators’ freedom to teach their subject matter and inhibit students’ ability to think critically.

THE LOUISIANA HOUSE HEALTH AND WELFARE COMMITTEE ON MAY 2 APPROVED a ban on gender-affirming health care for minors in the state, including puberty blockers and hormone treatments, despite overwhelming evidence that such care improves mental health outcomes for transgender young people.

no evidence to support such claims. Committee members also repeatedly referred to transgender children as being “confused” and falsely accused medical professionals and LGBTQ adults of conspiring to “turn” people trans.

THE COUNT #

THE NUMBER OF SHOWS

Between April 26 and May 8, the legendary bassist and co-founder of The Meters played all over New Orleans and beyond. He headlined Wednesday at the Square, did back to back sets at the Saenger and then the Maple Leaf and performed at Lafayette’s Festival International, in addition to booking gigs at more than a dozen other venues in between, including Jazz Fest itself. The 75-year-old icon did, in fact, “Funkify Your Life” — and everyone else’s — these past few weeks.

C’EST WHAT ?

Most independent senior living facilities in New Orleans have not complied with a new local law, passed after Hurricane Ida, requiring facilities to share disaster emergency plans and obtain a city-issued license, Verite News reported. Of 67 facilities listed by the city’s Health Department, only 26 were issued a license in 2022 and just 43 applied — many of which were rejected for missing information in their emergency plans. Verite also reports that the city has been slow to levy fines against negligent facilities.

The committee advanced the bill 14-3, with only Reps. Jason Hughes, a New Orleans Democrat; Larry Selders, a Baton Rouge Democrat; and Joe Stagni, a Kenner Republican, voting against it. It now goes to the full House for a vote, and if signed into law, anyone under 18 currently receiving gender-affirming care would have until the end of the year to stop that care.

Prior to the vote, supporters of the bill, House Bill 463 by Pollock Republican Rep. Gabe Firment, spent more than an hour peddling a host of false claims about trans people and gender-affirming health care.

At the start of the hearing on the bill, for instance, Firment said, “ you’ll hear from parents desperately struggling to save their kids from the chaos and confusion being thrust upon them by social media, pop culture and predatory adults,” despite there being

While these sorts of claims are popular among hate groups and are widely used in anti-LGBTQ propaganda, there is virtually no evidence to suggest any of them are true.

There is, however, substantial data to show that gender-affirming health care helps teens, that young people aren’t getting gender reassignment surgery — which the bill would also ban — and that measures such as Firment’s will actually cause harm to teens.

A 2023 Louisiana Department of Health study found that in 2021, 465 minors on Medicaid were diagnosed with gender dysphoria. None of those minors received gender reassignment surgery nor did anyone dating back to 2017.

“We have a very emotional heartfelt debate on a very, very small segment of the population. It tears all of us apart,” said Rep. Joe Stagni, a Kenner Republican. Stagni said the bill would have “unintended consequences.” For example, he

What did you miss while waiting in line for food at Jazz Fest?

Ben Franklin High School students gather outside their school for their protest over anti-LGBTQ legislation on Friday, March 31.

PHOTO BY CHRIS GRANGER / THE TIMES-PICAYUNE

GEORGE PORTER JR. HAD ON HIS SCHEDULE DURING JAZZ FEST.

on

said he wasn’t sure if the bill would ban a female teenager from getting a breast reduction.

Similarly, Pearl Ricks, a transgender intersex person, talked about the hormonal medication they received when diagnosed with polycystic ovary syndrome.

“It is irresponsible to think that legislation like this will only impact the people that are being wrongly talked about today,” Ricks said. “It is irresponsible and incorrect to think that people are not naturally born in a myriad of different ways.”

Supporters of the bill spoke for about an hour and a half. No Louisianan spoke saying they regretted transitioning, but two out-of-state people, Chloe Cole and Prisha Mosley, said they did. Both Cole and Mosley, who have been testifying against gender-affirming care in state legislatures across the country, said they received hormones and top surgery but no longer identify as transgender.

But the LDH report found that “regret or retransition in youth is rare (1% or less)” after a diagnosis of gender dysphoria and start of treatment. It also found that minors who were offered gender-affirming care were less likely to have depression or suicidal thoughts.

Rep. Kenny Cox, a Natchitoches Democrat, asked Cole, Mosley and others if they had been “groomed” into becoming transgender, repeating a term evoked by antiLGBTQ activists to stoke fear that LGBTQ people are trying to “turn” people queer. At one point, Cox, who repeatedly went on tangents throughout the meeting, said he did not know what LGBT stands for. He went on to vote for the bill.

Peyton Rose Michelle, president of Louisiana Trans Advocates, said Cole and Mosley’s presence “shows that this is an organized attack against the rights of so few people in the state, and it is inappropriate.”

Opponents of the bill spoke for more than three hours, warning that losing access to gender-affirming care will hurt transgender children. Health care providers and parents of trans children testified that providers often require years of mental health counseling before prescribing children hormones or puberty blockers.

Rep. Jason Hughes, a New Orleans Democrat, attempted

to amend the bill to put that into law. The amendment would have allowed gender-affirming care with a two-year minimum of mental health counseling and written consent from a parent. The committee rejected that amendment, with Firment saying he didn’t trust mental health professionals to care for their patients.

“We can’t trust mental health professionals that you’re relying on in your amendment to do the right thing,” Firment said.

Stagni asked Clifton Mixon, a pediatric psychologist at Ochsner Hospital for Children, if he found it ironic that the committee was trying to ban gender-affirming care when last year they rejected a proposed ban on conversion therapy, the discredited and harmful practice of attempting to make a queer person straight.

“The common theme here is we are willing to ban something when it helps LGBT people, and we’re not willing to ban something when it harms them,” Mixon replied.

Meanwhile, the following day on May 3, a House Labor committee defeated proposals to clearly make discriminating against LGBTQ people in the workforce illegal in Louisiana and to raise the minimum wage in the state for the first time in 14 years.

Currently, Louisiana law states that it’s “unlawful for an employer to discriminate against any individual based on race, color, religion, sex, national origin, or natural, protective, or cultural hairstyle.” House Bill 40 by Rep. Delisha Boyd, a New Orleans Democrat, would have added “sexual orientation or gender identity.”

In 2020, the U.S. Supreme Court ruled that the Civil Rights Act, which outlaws discrimination based on sex in employment, also prohibits discrimination based on sexual orientation or gender identity. More than 20 states have put workplace protections for LGBTQ people into state law.

The Labor committee also killed 5-9 House Bill 374 by Rep. Ed Larvadain, an Alexandria Democrat, that would have raised the minimum wage in Louisiana from the federal minimum wage of $7.25 to $10 an hour starting Jan. 1. The bill also set additional increases to $12 starting in 2026 and then to $14 in 2028.

Louisiana remains one of five states without its own minimum wage. — KAyLEE POCHE

Jazz Fest’s outdoor areas welcomed disabled people; the tents, not so much

WITH JAZZ FEST WRAPPING UP, we take a moment to thank festival organizers for their efforts to make it an enjoyable experience for people with disabilities — and to urge them to take additional steps to address some remaining challenges.

Jazz Fest has done a noticeably better job of welcoming and accommodating people with disabilities than some other major festivals — and a far better job than many music venues in town. Sadly, many venues treat people with disabilities as an afterthought, or worse, as an imposition.

By contrast, almost all of Jazz Fest’s outdoor stages had at least one clearly marked and staffed handicapped section. They aren’t mere afterthoughts shoved into a far corner with no sightlines. The Festival Stage, for example, features a raised area next to the Big Chief VIP area and a second handicapped section right up front against the stage.

Such spaces welcome people in wheelchairs and enable those with serious mobility challenges not only to attend the show but also to get the full festival experience. The festival also provides American Sign Language interpreters for those with hearing issues. Interpreters are passionate about what they do, something which the Wu-Tang Clan’s Method Man learned during the group’s set at Congo Square. Video of the legendary MC hyping up the interpreter went viral after the show, and he shouted her out between songs.

But there are failures as well.

None of the festival’s tented stages had dedicated, staffed handicapped sections with separate entrances. Instead, the tents delineated chairs on the aisles as handicapped priority. That puts people with disabilities — who are often more vulnerable to harassment and physical intimidation — in the uncomfortable position of having to police their fellow festival attendees. Given that in America

today it’s not uncommon for airline travelers to lash out or assault flight attendants for trying to keep flights safe, this is not the way to welcome people with disabilities.

In practice, the tents have become no-go spaces for many disabled people. These are some of Jazz Fest’s most popular spaces, yet the aisles inevitably become too congested to navigate.

During the fest’s first week this year, Gambit witnessed multiple disabled people, including several in wheelchairs, being turned away from the Blues, Gospel and Jazz tents because the aisles were too full for ushers to attempt to find them a seat — despite several aisle seats being occupied by people without disabilities. Gambit staff have witnessed such problems in prior years as well.

If the festival can accommodate VIPs, surely it can better accommodate people with disabilities in the tents. People with disabilities comprise a tiny but loyal segment of Jazz Fest’s devotees, and the festival has done an excellent job of staffing and situating its outdoor handicapped areas. We especially thank the staff for their vigilance in checking wristbands to keep people without disabilities out of those areas.

Because the tents are especially popular among older festers — who are more likely to have mobility issues — we urge fest organizers to make the tents equally accessible to all next year.

PHOTO BY JOHN STANTON / GAMBIT

Sign at the main entrance of Jazz Fest this year l shop @ gaetanasnola

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Meet Lindsey

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DECADES AGO, THEN-U.S. HOUSE SPEAKER TIP O’NEILL famously quipped, “All politics is local.” In O’Neill’s day, senators and representatives in both parties brought home the bacon and paid attention to retail politics at the precinct level.

Nowadays, national issues dominate the news and drive political conversations. Taking sides trumps taking care of constituents.

If O’Neill were around today, he would begrudgingly grouse, “All politics is national.”

If you want proof, look at the Louisiana Legislature. Where generations of lawmakers in both political parties once proudly rejected “Washington-style politics,” today they breathlessly adhere to their national party’s orthodoxy.

That’s especially evident with Republican lawmakers, both because they hold a super-majority and because the GOP has almost no diversity. That promotes, if not demands, marching in lockstep.

When I began covering state politics almost 50 years ago, Republicans held only a handful of seats in the Legislature. After Dave Treen won the governor’s office and Ronald Reagan

captured the presidency, the LAGOP’s influence grew significantly.

From the late 1970s until the mid-1990s, GOP lawmakers championed strong transparency laws, fiscal reform, financial disclosure and an array of political reforms that dramatically changed how the state as well as local governments functioned.

Sure, one or two may have qualified for the tin-foil-hat caucus, but that was true of some Democrats as well.

Today’s GOP lawmakers here and across America are a different breed. Instead of focusing on local issues and solutions, they slavishly follow a national playbook crafted by far-right ideologues who stoke fear and anger.

They push mean-spirited bills that target LGBTQ people, DEI (diversity, equity and inclusion), voting rights, librarians, “critical race theory” and other invented bogeymen.

Each of those fronts in the GOP’s war against modernity is a solution in search of a problem. Meanwhile, real problems — such as Louisiana’s out-migration of educated young people — garner little or no attention.

Case in point: various anti-trans bills that GOPdominated committees have advanced in the current legislative session. One bill, HB 463 by Rep. Gabe Firment, R-Pollock, would ban gender-affirming health care for transgender youth. A recent study by state health officials could not identify a single health care provider offering gender-reassignment procedures for trans youth in Louisiana.

According to mainstream medical professionals, Firment’s bill would only further stigmatize vulnerable young people and make them more likely to commit suicide, which they already do in disproportionate numbers.

Unfazed, the House Health and Welfare

Committee on May 2 advanced the bill by a 14-3 vote. Six Democrats voted for it; only one Republican courageously voted against it.

Other House committees have approved bills banning discussions of gender and sexuality in classrooms and teachers using pronouns or names that differ from students’ birth certificates.

Such measures are both cruel and counterproductive. They encourage educated young people to flee Louisiana and discourage economic growth.

It’s easy to target the vulnerable. Protecting them — and tackling real problems instead — takes courage.

Especially when all politics is national — and mean spirited.

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@GambitBlake | askblake@gambitweekly.com

Hey Blake,

A building in the 400 block of Tchoupitoulas Street, not far from Poydras, has the words “Walle & Company Ltd.” inscribed on its exterior. Is that from the building’s past life? What can you tell me about it?

Dear reader,

WALLE & COMPANY LTD., LATER KNOWN AS THE WALLE CORP., was a well-known printing and lithography company established in New Orleans in 1872. The Walle name comes from co-founder Bernard J. Walle, whose business partner was Gustav Koeckert. Walle became the sole owner in 1896.

The company’s work included printing labels for a wide range of locally produced products, from tea, coffee and beer to vegetables, seafood, hot sauce and much more.

According to Carnival historian Henri Schindler, the company also designed and printed invitations, proclamations and parade bulletins for Carnival krewes throughout the late 19th and early 20th centuries. That included work for Rex, Comus, Proteus, Momus and other early Carnival krewes. you can spot the firm’s name on those highly collectible parade bulletins which depict the floats of those early parades. Up to 30,000 copies of the bulletins would be printed for some parades, according to Schindler.

In his book, “Mardi Gras Treasures: Float Designs of the

BLAKE VIEW

Golden Age,” Schindler writes that many of the bulletins’ designs were the work of artist Susus Frederick Von Ehren, a lithographer who began working for Walle in 1885 and also designed parade floats for some krewes.

Walle’s printing plant was originally located in the 500 block of Gravier Street. Its Tchoupitoulas Street plant was built in 1919.

Walle became one of the city’s biggest printing companies, and in more recent years it produced labels for Baumer Foods, Ocean Spray, Clorox and Welch’s, among other companies. Purchased by Cecil Keeney in 1982, it relocated its local printing operations to Harahan, with another plant in Winchester, Kentucky.

In 2019, the company was acquired by a Chicago company that closed the Harahan facility. The Tchoupitoulas Street building is now home to condominiums.

35 YEARS AGO THIS WEEK , New Orleanians watched in disbelief as a seven-alarm fire tore through one of the city’s most iconic buildings: the Cabildo.

One of two identical buildings flanking St. Louis Cathedral and overlooking Jackson Square (the other is the Presbytere), the Cabildo was built between 1795 and 1799. It was the site of the Louisiana Purchase transfer in 1803 and served as the seat of state government until 1853 when it became the headquarters of the Louisiana State Supreme Court. It has been a part of the Louisiana State Museum system since 1908.

The Cabildo replaced an earlier structure which was built on the site and destroyed in the Great Fire of 1788 — 200 years before fire tore through the building again, in dramatic fashion.

On the afternoon of May 11, 1988, a welder’s torch apparently sparked the fire on the roof of the building. The fire sent thick smoke billowing over the French Quarter and flames destroyed the cupola and the building’s entire third floor, while also causing heavy smoke and water damage to the first two floors. In all, the fire caused about $4 million in damage.

Although Napoleon’s death mask and many other historic artifacts were saved (after being carried out of the building by firefighters, museum employees and even volunteers), hundreds of other items were destroyed or damaged.

Five years later, the Cabildo reopened after an $8 million restoration.

As

PHOTO BY JEANNE EXNICIOS / GAMBIT The Walle & Company building

BY LIAM PIERCE

UNDERFOOT

AS DR. RYAN GRAY dropped into a hole in front of Madame John’s Legacy one day earlier this month, all the sights, sounds and smells of the French Quarter were around him. Tourists swayed past clutching Hand Grenades, and exhuast from passing cars was omnipresent.

But in the split second it took him to drop to the bottom of a four-and-a-half-foot hole, he’d traveled 300 years into the past.

A couple of yards away, Elizabeth Williams, Dr. Gray’s colleague and research associate with the University of New Orleans anthropology department, stood in a similarly sized hole and casually pulled out a piece of 18th century French colonial pottery.

“If you have a seven layer cake, you want to make sure you get every piece of it. You want it even, you want a clean cut,” Williams says, emphasizing that an archaeologist’s pride lies in how tidy their dig is. “It’s very easy to lose a lot of your icing.”

At any given point in a stroll around the French Quarter, you could be walking on this five-

foot “cake” of human history: bricks on top of French colonial pottery on top of raccoon penis bones used in Voodoo rituals on top of dominoes made of bones on top of Indigenous Peoples’ pottery. It turns out archaeologists learn a lot about us through our trash.

Right now, New Orleans has an unparalleled focus on archaeology compared to the rest of the country, according to Nathanael Heller, senior research archeologist with the cultural resource management firm R. Christopher Goodwin & Associates.

“Since Katrina, there’s been a tremendous amount of work in New Orleans, out of the ordinary,” Heller says. “This has been a golden age for archaeology in New Orleans.”

According to Heller, that’s in part because both Katrina and the BP oil spill yielded an influx of federal building projects. That, in turn brings along certain regulatory controls, like Section 106 of the 1966 National Historical Preservation Act, which requires federally funded projects to have an archaeological exam-

ination to make sure they’re not damaging historical sites.

Heller estimates there were roughly 200 identified archaeological sites before Katrina. Now there are 756. This means it’s not just the areas of New Orleans traditionally considered historic, like the Quarter and Garden District, that receive the historical preservation treatment. It’s happening all over. And historians — and the public — are able to get a better picture of how New Orleanians have lived and worked throughout history.

One thing that sets archaeology apart from the rest of historical work is that while written history often tells the stories from the perspective of the literate class, archaeology can tell the story of the common person. The history of New Orleans, with its unique intersection of cultures across colonization and slavery, is written in the layers of human deposits like chapters of a wordless book.

At the Madame John’s Legacy dig, located on the street front of 632 Dumaine, Dr. Gray’s voice ran hoarse from explaining to

onlookers what they were looking at. During French Quarter Fest, he says that people were stopping so frequently, he and his crew decided to make postcards to explain the dig to them.

When people hear archaeological dig, their minds immediately go to Indiana Jones, gold, treasure and, of course, cob web coated skeletons. Which is why, Gray said, the first rule of digging is never, ever joke about gold or bodies. It’s “the cardinal sin of archaeology. Don’t ever joke about dead bodies or gold. Next thing, people will be swarming.”

Still, the lure of finding a bit of treasure can be overwhelming, and it’s often started accidentally. Finding a bit of pottery in the yard while gardening, or uncovering Prohibition-era bottles during a home renovation that turn out to prove the house used to be a speakeasy.

These sorts of amateur diggers are mostly harmless. But it’s repeat “bottle hunters,” or hobbyists, who end up doing more harm to history than good.

Professionals like Gray, Williams

Jewelry holder made of bisque porcelain

PHOTO BY LAUREN DAVIS

“Trick die” made of animal bone

PHOTO BY LAUREN DAVIS

Domino made of bone found at Madame John’s Legacy

PH OTO BY LIAM PIERCE

and Heller painstakingly catalog the objects they find and connect the dots of various layers. An untrained hobbyist might fixate on the wrong thing and forever remove an important clue from its location in a timeline.

“From an archaeologist’s standpoint, the biggest problem is that none of it is reported,” Gray says. “We even save the items we might not be interested in — because there are other people who might be able to tell a better story out of that. But a lot of relic and bottle hunters just target one particular category of items and everything else they just kind of toss it. It skews our idea of what is left of the archaeological legacy of the city.”

You can break down New Orleans’ professional archaeologists into three categories: private firms like Heller’s, academics like Gray, and the government.

Gray estimates that private firms conduct 90% of the work done in the city, though Heller estimates only 20% of those digs yield artifacts of interest. Academic projects, which are often by invite to private property, are fewer and further between. The

city’s archaeologist oversees New Orleans’ nightmarish street construction and repairs, which is unfortunately pretty boring work. It turns out that most of the city’ streets are either not on top of archaeologically interesting areas or the spaces have already been so disturbed from previous construction as to have lost any historical meaning.

Unfortunately, it’s pretty boring work. It turns out that most of the city’s streets are either not on top of archaeologically interesting areas or the spaces have already been so disturbed from previous construction as to have lost any historical meaning.

Asking an archaeologist what their favorite artifact is turns out to be a kind of sacrilege. Like asking a writer what their favorite word was in a book they wrote, disregarding its function in the sentence. No single piece tells the whole story — and the story is the most important thing.

“How do you make a story out of such a small amount of evidence?” Heller says.

One of Heller’s favorite finds came in the form of a privy: an outhouse. It was at a former cigar

A porcelain doll head from UNO’s archives BY LIAM PIERCE

Dr. Ryan Gray holds up various artifacts from Madame John’s Legacy dig.

PHOTO BY LIAM PIERCE

A porcelain English toilet joke statue

PHOTO BY LIAM PIERCE

factory turned school, later converted to a hospital to treat Yellow Fever for two-and-a-half months in 1897.

“I didn’t have any high expectations to find anything from that short time when it was a hospital,” Heller says. But outhouses are all potential gold mines for archaeologists, since people also used them as personal landfills and would throw their trash down them. Over time, that can create a perfectly preserved timeline of life. So while Heller may not have had high expectations, in the end it was a treasure trove.

“We found a privy filled with medical waste from that hospital,” Heller said. “Bedpans, hypodermic syringe, sick cups, wash basins and pitchers used for washing bedridden patients and some medicine bottles — a lot of things that gave insights into how medical facilities treating a Yellow Fever epidemic operated in 1897. So it was really a fantastic find.”

Gray’s favorite haul came from another type of vertical stripe: a well. In his office at UNO, he pulled several items from meticulously labeled Ziploc bags and prescription pill bottles before he

BY

mysteriously presented a curious trifecta of objects.

He brought out what looked like a pair of scissors, a pin with a fist clasping a handle, and a finely polished curved bone. After fielding a few futile guesses, Gray revealed the scissors to be a skull-puncturing “Smellie Perforator” from the late 18th century, the fist to be a Victorian skirt lifter popularized when women started riding bikes, and the bone was a raccoon baculum — a penis bone.

While these items may seem disperate, they actually tell the story of a former inhabitant of the area, Julia Metoyer, a midwife, who had lived at the site. Gray believes she may have used the perforator during stillbirths and that the skirt pin’s fist may have been a subtle nod to Black solidarity. As for the raccoon bone, Gray says it has been known to be used in fertility rituals. All of which leads Gray to believe Metoyer was practicing a hybrid form of midwifery combining Western medicine and traditional practices.

In a lot of ways, that’s what archaeology often yields: It’s not always a sharp, definitive conclusion, but a way to triangulate

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Elizabeth Williams demonstrates a pottery finding from the Madame John’s dig.

LIAM PIERCE

Elizabeth Williams unearths 300 years of human deposits at Madame John’s.

PHOTO BY LIAM PIERCE

meaning between objects. In a city whose culture lives in a similar inbetween space, archaeology seems like a fitting way to study it.

While the movies make archaeology seem like a glamorous affair unearthing huge truths about humanity and history, the truth is, it’s mostly about sifting through the trash to learn a little something about people like Metoyer.

“There’s almost nothing accurate in ‘Raiders of the Lost Ark,’ except for the very last scene,” Heller says, “When they bring in the Ark of the Covenant in a crate and wheel it off into a big warehouse and stick it on the shelf.”

In fact, archaeologists are increasingly going back to old digs — like Madame John’s — to see what previous generations of cake cutters may have missed.

Madame John’s has had at least four digs conducted on the site between 1971 and today.

That’s partially been driven by science and the evolution of the field. According to Heller, he has conducted digs in Little Woods and the Northshore where his firm reexamined a site that was dug up in the 1930s, when the WPA was putting people to work doing archeological projects as a way to employ them.

“A lot of stuff that we would keep now, they’d thrown away,” said Heller. “For example any animal bones right now, we’d keep because it tells us about people’s diets. Any soil samples that would tell us about crops people were growing at the time. None of that was really paid attention to in the 1930s. And even in the 1970s, people were targeting the tablewares, the bottles, and stuff that would look good in a display case. But they wouldn’t have the complete picture.”

There’s also new technologies that allow for “absorbed residue analysis,” which is particularly helpful when it comes to Indigenous People’s pottery. The tech can analyze residues that could be lingering “for thousands of years” from cookware and help reconstruct what meals those people used to cook. Maybe your meemaw’s cast iron can do the same thing a couple thousand years down the line.

Advancements like these and a growing knowledge of what human deposits signify means that archaeological storage is more important than ever. Once Heller and his team are done with a project, all the materials go to the Louisiana Division of Archaeology in Baton Rouge.

But archaeology has also been driven by our changing society and how we see ourselves, particularly underrepresented and oppressed populations whose stories aren’t always part of the “official” historical record.

Madame John’s, for instance, was tenement housing for recent Italian immigrants from the mid 19th century until 1947, when the building was handed over to the Louisiana State Museum. That’s a signififcant part of its history but previous digs at the site didn’t focus on it.

But this time, in 2023, Gray and Williams found toys, marbles and a bone domino, among low cost meat waste from the 100-year stretch. Williams and Gray’s students hope to piece those objects together as they clean and catalog them.

Although all too often artifacts are sent to warehouses to once again sit patiently out of sight until some future archaeologist comes along, Gray is hoping to change that. He and his colleagues and students, in fact, are

slowly but surely working to turn UNO into a public repository for the city’s historical finds.

Currently, UNO student Lauren Davis and UNO archivist James Warren Hodges have curated an exhibit called, “Scarlet Squares: Storyville in Archaeology and the Archive.” It opens to the public in a reception 4 p.m. to 6:30 p.m. Thursday, May 18, on the fourth floor of UNO’s Earl K. Long Library.

Some of the artifacts, from New Orleans’ famed redlight district, have completed the journey from owner to archaeological dig to lab to exhibit. They include a loaded die that kids presumably played with, a porcelain hand to hold jewelry and a very curious medal of St. Joseph with Chinese inscriptions on it.

The Catholic medal was found in a privy (of course) at the site of a Chinese laundry — New Orleans’ Chinatown is a burgeoning field of study for archaeologists — and is presumed to have made a journey from France to China to New Orleans. Its journey represents the kind of triangulation that would only makes sense in this city of intersectioning cultures.

“Archaeology allows you to really have the connection. You see these objects and it puts you in that place. It makes it more real to you,” Davis says. “It really wasn’t that long ago.”

Dr. Ryan Gray surveys the Madame John’s dig. BY BY LIAM PIERCE

French colonial pottery from Madame John’s Legacy, one in tricolor

PHOTO BY LIAM PIERCE Catholic religious medal with Chinese characters

PHOTO BY LAUREN DAVIS

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Tchoupitoulas Riviera

THANKS TO THE OPENING OF KING, A BREEZY FRENCH BRASSERIE in the Kimpton Hotel Fontenot, awkward first date conversation may be a thing of the past.

Before even one morsel of chef Sam Peery’s inspired Mediterranean dishes lands on the table, there’s plenty to talk about. That’s because of the cheeky “king”-inspired décor.

There’s a wall of moody photos, with recognizable figures including B.B. King, Carole King and Elvis Presley. Booths in the crisp black and white bar have a view of a wall of king-inspired silhouette art. There are no labels, so let the guessing begin. Is that LeBron “King” James? Don King?

The restaurant is located in the newly opened addition to the hotel, a modern rendering in a building that dates back to 1844, originally designed by architect James Gallier. The original brick walls were preserved, and the design warmed by reclaimed wood and subtle lighting.

Working up an appetite before arriving at King is a splendid idea.

Chef Peery previously worked at Restaurant R’evolution, and his impressive resume includes running a luxury resort restaurant in Lake Tahoe and a culinary degree from the Accademia Italiana della Cucina in Milan, Italy. Peery was born in Tennessee and is passionate about Southern cuisine, but for King, he took a three-week trip along the French Riviera, gleaning inspiration from coastal brasseries in cities like Nice and Marseille. The only thing missing at the 125-seat restaurant is the diners chatting in French at the next table.

Peery’s coastal menu delights in categories including snacks, salads, raw items, seafood and entrees. Diners can start with perfect drinking snacks like marinated olives, lavender almonds, radishes and butter paired with an outstanding crusty bread delivered warm from the oven.

The arugula and anchovy salad, Peery’s homage to a Caesar, swaps croutons for the earthy tang of fried boquerones, and instead of

Parmesan, curls of Esquirrou OssauIraty, an award-winning cheese from the Pays Basque region of southern France. Leeks have never enjoyed more nuanced flavor, thinly sliced, steamed and then bathed for three days in a sherry vinaigrette. Toasted rounds of hazelnuts add a satisfying crunch.

Crawfish beignets are complemented with a silky crab fat aioli, with just a hint of cayenne on the back end. The grilled octopus is a showstopper, lacquered in a sweet, black olive brine and served with pickled cauliflower in a sunflower yellow pool of vadouvan, a French style curry blend of spices. There also is a caviar and crème fraiche appetizer served with yukon golds, prime steak tartare with a quail egg and horseradish, and a tower of cold seafood with items like oysters, mussels, Gulf shrimp and blue crab claws. Diners can add a poached lobster trail for $25.

The seasonal menu includes a zippy riff on carbonara. The tangle of al dente pasta is coated with the umami of fresh sea urchin and is crunchy with bottarga, with black truffle shavings on the side. Wild boar Provençale features a delicately flavored medium-rare rack of chops, braised fennel and black olives on the side. Whole roasted sea bass is served with a thatch of fresh herbs and a garlicky green sauce that tastes like an elegant cousin to chimichurri. Steak frites comes with bone marrow au poivre and crispy fries with aioli.

Pastry chef Lanna Talley’s impressive desserts are highlighted by a

FORK + CENTER

Viet-Cajun pop-up

AT THE NEW ORLEANS CULINARY AND HOSPITALITY INSTITUTE , each cohort of students design and run a pop-up restaurant as a capstone project. The group of 11 training chefs graduating in June has created a VietCajun street food concept called Tet Marche. The pop-up will serve lunch Tuesday through Friday, May 16-19 and May 23-26, at NOCHI’s building at 725 Howard Ave.

The menu includes five small plates ranging from grilled prawns with satsuma glaze and barbecue sauce to sticky Thai chili-glazed turkey necks with basmati rice. There also are char-broiled oysters with saffron-ginger butter and mirliton mignonette.

Larger plates include tempura-fried soft-shell crab with bok choy, avocado, Sriracha aioli and Thai chili glaze. Japanese-style fried chicken thigh is served with caramelized fish sauce, lemon grass aioli and fried

glossy entremet de Ponchatoula, a fancy nod to strawberry shortcake served with a scattering of shortbread and rose petals.

A thoughtful selection of wines by the glass includes a house red and white on tap and a robust list focused on France and coastal European regions. There are European lagers, local beers and aperitif cocktails along with the classics. With an entrance on Tchoupitoulas Street, King is more of a restaurant in a hotel than a hotel restaurant, but it tastes like a visit to the south of France.

rice. Five spice-glazed seared salmon is served over drunken noodles with smashed cucumber salad.

For dessert, there is a Vietnamese coffee ice cream sandwich, sticky rice pudding and red bean cake.

Tet Marche offers seatings at 11:30 a.m., noon, 12:30 p.m. and 1 p.m. Proceeds from lunch support the NOCHI scholarship fund. For information about the pop-up, visit nochi.org/tet-marche.

Reservations are available via the website and by calling (504) 6350017. — WILL COVIELLO

Sum Holy Ground

DURING THE PANDEMIC, CHEF ANDREW LU CREATED his Get your Mom + Dim Sum pop-up and has served his Louisiana-infused Chinese dumplings and other dishes at bars and breweries since.

Chef Samuel Peery focuses on southern French fare at King.

PHOTO BY CHERYL GERBER / GAMBIT

PHOTO PROVIDED BY NOCHI

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The pop-up still makes the rounds of drinking spots, but Lu also now serves a larger menu out of the kitchen spot at Holy Ground Irish Pub at 3340 Canal St. in Mid-City.

The pop-up menu features staples such as dan dan dumplings filled with spicy Sichuan pork, kung pao noodles, and black pepper beef dumplings over mashed potatoes.

At Holy Ground, there are some dumplings, crab Rangoons, egg rolls and cucumber salad with soy vinaigrette. Larger plates include dishes like General Lu’s fried chicken with jasmine rice or fried rice. Prince Edward Island mussels are served with garlic sauce and shoestring fries. Orange chicken features a boneless leg quarter served with jasmine rice or fried rice.

At Holy Ground, Get your Mom + Dim Sum is open from 5 p.m. to midnight Monday through Friday and 2 p.m. to midnight on Saturdays and Sundays.

Lu grew up in Lafayette and worked in his family’s restaurant. After earning a culinary degree in Baton Rouge, he came to New Orleans and worked at restaurants including Kingfish, Gianna and Cavan, where he was the executive chef for a year before it was closed early in the pandemic. For menus and a weekly pop-up schedule, go to @geturdimsum on Instagram. — WILL COVIELLO

Now serving

DESPITE THE CHALLENGES OF HIRING SUFFICIENT STAFF, increased costs and lingering supply chain issues for equipment, new restaurants keep opening in New Orleans. From fine dining to casual spots, here are some of the new dining options.

OSTERIA LUPO. The Italian restaurant from the partners behind the Spanish spot Costera has been busy since it opened at 4609 Magazine St. The menu features some northern Italian dishes, house-made pastas, a couple of pizzas and more. Visit osterialupo. com for information.

HUNGRY EYES. Flavor tripper

Mason Hereford has built on the success of his sandwich shop Turkey & the Wolf and breakfast spot Molly’s Rise and Shine with Hungry Eyes at 4206 Magazine St. The décor is heavy on 1980s kitsch, and the menu features creative shareable plates. Visit @hungryeyesnola on Instagram

DAHLA. This family-owned Thai restaurant recently opened in the South Market District development. The menu ranges from classic dishes to specialties like duck curry with tomato, pineapple, Thai basil, red peppers and raisins. It’s open for lunch and

dinner Monday through Saturday. Visit @dahlarestuarant on Instagram.

THE POST. The new restaurant in the spot formerly occupied by Nonna Mia at 3125 Esplanade Ave. opened for the first weekend of Jazz Fest with a limited menu, including a calamari appetizer, a lobster and goat cheese salad and some sandwiches. Visit thepostnola.com for details.

KING. This recently opened French brasserie in the Kimpton Hotel Fontenot takes inspiration from the cuisine of southern France and the Mediterranean. See “Tchoupitoulas Riviera” on page 23, and kingbrasserieandbar.com.

SUN CHONG. Larry Morrow and his mother Leonora Chong enjoyed success opening Morrow’s on St. Claude Avenue. Chong combined Creole favorites and Korean dishes. They expanded when they took over Trep’s in Mid-City and changed the name to Monday. Last week they opened Sun Chong at 240 Decatur St. The pan-Asian menu includes chicken teriyaki lettuce wraps, kimchi dumplings, a beef bulgogi po-boy, a bibimbap rice bowl, sweet and sour pork and more. Go to sunchongnola.com for details.

T-SWIRL CREPE. A couple of franchise locations of this Japanese-style creperie opened in the area, one at 3200 Severn Ave. in Metairie and one in Uptown at 4200 Magazine St. Sweet crepes range from a Matcha Azuki Bean crepe with strawberries, red beans, matcha ice cream and more, to blueberry cheesecake and banana Nutella. The savory menu includes crepes filled with Thai chicken, beef short rib, spicy crabmeat and shrimp and avocado. Visit t-swirlcrepe.com for information.

WONDERLAND AND SEA. This casual spot has been in development at 4842 Tchoupitoulas St., across from F&M Patio Bar. During Lent, it opened on Friday afternoons and served a limited menu with fried fish and chicken plates. It’s added sandwiches, salads and side dishes, is serving only virgin daiquiris and has limited hours a couple days a week. Visit facebook.com/eatatwonderland.

BODEGA. Chef Jaryd Kase is preparing to open pick-up concept Bodega as a brick and mortar in Uptown. He’s operating it as a pop-up at Undergrowth Coffee at 4322 Magazine St. for three weeks starting in May. The menu includes a seared tuna BLT, a chimichurri steak sandwich, cola-braised chicken tacos and more. For information, see @bodeganola on Instagram.

Edgar ‘Dook’ Chase IV

Chef/restaurateur

by Will Coviello

THE GRANDSON OF THE LATE LEAH CHASE, EDGAR “DOOK” CHASE IV IS THE EXECUTIVE CHEF for Dooky Chase’s Restaurant and owner of the recently opened Chapter IV restaurant. He and fellow family members, including chefs Cleo Robinson and Zoe Chase, recorded “The Dooky Chase Kitchen: Leah’s Legacy,” a 26-episode cooking show that explores the history of the restaurant and family through their dishes. The show recently debuted on W yES and airs at 10 a.m. Saturdays as well as on other PBS stations around the nation. For more information about Dooky Chase’s, visit dookychaserestaurants.com, and for more about the series, visit dookychase.wyes.org.

How did you choose to become a part of the family business?

EDGAR CHASE IV: Like many of us in the family, we all grew up in the business. I started off bussing tables, waiting tables, and I moved to the back and started washing dishes in my grandmother’s kitchen. I would wash her pots and all that great stuff. I’d be the errand guy. She’d be like, get me an onion and this spice. That’s how I first fell in love with the kitchen: watching her cook and commanding her stove. But I got an undergraduate degree at Dillard in economics and finance. Then I got a masters of business administration from UNO. I was working in corporate America for a while, though I’d help out at the restaurant a bit.

Then Katrina hit, and everybody moved from New Orleans. We were able to get a house in Baton Rouge. My grandmother would have been about 80. My grandfather would have been in his late 70s, but they were anxious to get back and clean that restaurant and get it up and running. That really shifted my whole focus. I started diving in and helping gut out the restaurant and cleaning and helping get it back open. That’s when I decided to make the move to full-time hospitality.

What do you want the series to show about the family and restaurant?

C: There are documentaries about Dooky Chase, but there wasn’t one that operated through the lens of

food, the cuisine that we have. In the series, we show the history of Dooky Chase through the cuisine and how it evolved. you start with Dooky Chase’s opening up as a bar and sandwich shop. We touch on po-boys and the hungry man po-boy, which was a french fry po-boy. We take that up to the civil rights era and those dinners, and our Holy Thursday gumbo z’herbes, all these different events all the way up to now.

Zoe (Chase) introduces some modern plays on some of these dishes. We bring it through all the Creole classics as we evolve from a sandwich shop to a fine dining restaurant. And we focus on the generational aspect of touches on the menu, all while telling the story of Dooky Chase.

It shows people how we learned in the kitchen. There wasn’t a recipe book you picked up. It’s looking at the stove of whoever’s cooking. For me, it was my grandmother — seeing what she’s doing, tasting it, going back and trying to recreate it. What viewers are getting a chance at is watching us make these recipes.

That’s exactly how we learned. There’s a lens of food, but it’s a cooking school like how we learned in that restaurant. you have to talk about each step so people get it. We had so much fun with it. It was a blast.

It has a local feel of, hey, we want to show you what we do in the kitchen and let you get a feel for how authentic we are. This is still Leah’s kitchen.

The upcoming episode is titled “Queen’s Day.”

What’s it about?

C: Queen’s Day is Jan. 6. That’s my grandmother’s birthday. It’s on King’s Day, the start of Mardi Gras celebrations and all that good stuff. We always do a big happy birthday celebration at the restaurant. King cakes are introduced that day, but we call ours a queen’s cake. We do a Mardi Gras play on bread pudding. We have the

WI NE OF THE WEEK

colored sugars that we put on it. It’s a celebration of her birthday. For this latest Queen’s Day, it was not only a celebration of my grandmother’s birthday, but of my niece Zoe, our fifth-generation chef, being introduced as a new chef at Dooky Chase’s Restaurant. She graduated from culinary school and is taking some of the reins of the kitchen. She created a five-course meal (on Queen’s Day). One of them was a seafood stew. We go through that.

Watching that cooking process is beautiful in terms of flavor making, because it’s a two-pot process. In one, you’re making your stock that you’re going to cook your clams in. Then you’re going to pull the clams out and use another pot to build the base of your stew. you have your onions, bay leaf, garlic, thyme and a little tomato paste and a little bit of hot sauce to give it a little bit of heat. Then you add that clam stock, and you cook your different seafood depending on the time it needs to cook. There’s cod, shrimp and the clams that are going back in. you have a full-flavored seafood broth. This is something that’s not normally on the Dooky Chase’s menu. People loved it.

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Out 2 Eat is an index of Gambit contract advertisers. Unless noted, addresses are for New Orleans and all accept credit cards. Updates: Email willc@gambitweekly.com or call (504) 483-3106.

8 Fresh Food Assassin — 1900 N. Claiborne Ave., (504) 224-2628; Instagram, @8freshfoodassassin — Chef Manny January’s serves lamb chops, T-bone steaks, salmon, crab cakes, deep fried ribs, fried chicken and seafood-loaded oysters. No reservations. Delivery available. Lunch and dinner

Tue.-Sun. $$

Acorn — 12 Henry Thomas Drive, (504) 218-5413; acornnola.com — The cafe at the Louisiana Children’s Museum has blackened shrimp tacos topped with arugula, radish, pineapple-mango salsa and cilantro-lime sauce. No reservations. breakfast and lunch

Wed.-Sun. $$

Angelo Brocato’s — 214 N. Carrollton Ave., (504) 486-1465; angelobrocatoicecream.com — This sweet shop serves its own gelato, spumoni, Italian ice, cannolis, biscotti, fig cookies, tiramisu, macaroons and more. Lunch and dinner Tue.-Sun. $

Annunciation — 1016 Annunciation St., (504) 568-0245; annunciationrestaurant.com — Gulf Drum yvonne is served with brown butter sauce with mushrooms and artichoke hearts. Reservations recommended. Dinner

Thu.-Mon. $$$

Banana Blossom — 500 9th St., Gretna, (504) 500-0997; 504bananablossom.com — Jimmy Cho’s Thai dishes include smoked pork belly and pork meatballs in lemon grass broth with egg, green onion, cilantro and garlic. Reservations accepted for large parties except weekends. Delivery available. Lunch and dinner

Tue.-Sat. $$

The Blue Crab Restaurant and Oyster Bar — 118 Harbor View Court, Slidell, (985) 315-7001; 7900 Lakeshore Drive, (504) 284-2898; thebluecrabnola.com

Basin barbecue shrimp are served over cheese grits with a cheese biscuit. Outdoor seating available. No reservations. Lakeview: lunch and dinner

Tue.-Sun. Slidell: lunch Fri.-Sat., dinner Wed.-Sun. $$

Broussard’s — 819 Conti St., (504) 581-3866; broussards.com — Rainbow trout amandine is served with tasso and corn macque choux and Creole meuniere sauce. Reservations recommended. Outdoor seating available.

Dinner Wed.-Sat., brunch Sun. $$$

Cafe Normandie — Higgins Hotel, 480 Andrew Higgins Blvd., (504) 528-1941; higginshotelnola.com/dining — The menu combines classic French dishes and Louisiana items like crab beignets with herb aioli. No reservations.

Breakfast and lunch daily. $$

The Commissary — 634 Orange St., (504) 274-1850; thecommissarynola. com — The central kitchen for Dickie Brennan restaurants has a dine-in menu with a smoked turkey breast sandwich with bacon, tomato jam, herbed cream cheese, arugula and herb vinaigrette on honey oat bread. No reservations. Outdoor seating available. Lunch Tue.-Sat. $$

Curio — 301 Royal St., (504) 717-4198; curionola.com — The creative Creole menu includes blackened Gulf shrimp served with chicken and andouille

$ — average dinner entrée under $10

$$ — $11-$20

$$$ — $20-up

jambalaya. Reservations accepted. Lunch and dinner daily. $$

Desire Oyster Bar — Royal Sonesta New Orleans, 300 Bourbon St., (504) 586-0300; sonesta.com/desireoysterbar — The menu highlights Gulf seafood in Creole dishes. Char-grilled oysters are topped with Parmesan and herbs. Reservations recommended.

Breakfast, lunch and dinner daily. $$

Dickie Brennan’s Bourbon House — 144 Bourbon St., (504) 522-0111; bourbonhouse.com — There’s a seafood raw bar and dishes like redfish with lemon buerre blanc. Reservations accepted.

Lunch and dinner daily. $$$

Dickie Brennan’s Steakhouse — 716 Iberville St., (504) 522-2467; dickiebrennanssteakhouse.com — A 6-ounce filet mignon is served with fried oysters, creamed spinach, potatoes and bearnaise. Reservations recommended.

Dinner Mon.-Sat. $$$

Dragonfly Cafe — 530 Jackson Ave., (504) 544-9530; dragonflynola.com

The casual cafe offers breakfast plates, waffles, salads, coffee drinks and more. Delivery available. Reservations accepted. Breakfast and lunch Wed.-Sat. $$

El Pavo Real — 4401 S. Broad Ave., (504) 266-2022; elpavorealnola.com

Pescado Vera Cruz is a sauteed

Gulf fish topped with tomatoes, olives, onion and capers and served with rice and string beans. The menu also includes tacos, enchiladas and more. Outdoor seating available. No reservations. Lunch and early dinner Tue.-Sat. $$

Felix’s Restaurant & Oyster Bar — 739 Iberville St., (504) 522-4440; 7400 Lakeshore Drive, (504) 3044125; felixs.com — Louisiana oysters are served raw or char-grilled with garlic, Parmesan and breadcrumbs. The menu includes seafood platters, po-boys and more. No reservations. Lunch and dinner daily. $$

Frey Smoked Meat Co. — 4141 Bienville St., Suite 110, (504) 488-7427; freysmokedmeat.com — The barbecue spot serves pulled pork, ribs, brisket, sausages and and items like fried pork belly tossed in pepperjelly glaze. No reservations. Lunch and dinner daily. $$

Froot Orleans — 2438 Bell St., Suite B, (504) 233-3346; frootorleans.com There are fresh fruit platters and smoothie bowls such as a strawberry shortcake and more using pineapple, berries, citrus and more. No reservations. Outdoor seating available. Breakfast and lunch daily. $$

Juan’s Flying Burrito — 515 Baronne St., (504) 529-5825; 2018 Magazine St., (504) 569-0000; 4724 S. Carrollton Ave., (504) 486-9950; 8140 Oak St., (504) 897-4800; juansflyingburrito.com

The Flying Burrito includes steak, shrimp, chicken, cheddar jack cheese, black beans, rice, guacamole and salsa. Outdoor seating available. No reservations. Lunch and dinner Thu.-Tue. $$

Katie’s Restaurant — 3701 Iberville St., (504) 488-6582; katiesinmidcity. com — The eclectic menu includes a Cajun Cuban with roasted pork,

ham, cheese and pickles on buttered bread. Delivery available. Reservations accepted for large parties. Lunch and dinner Tue.-Sun. $$

Kilroy’s Bar — Higgins Hotel, 480 Andrew Higgins Blvd., (504) 528-1941; higginshotelnola.com/dining — The bar menu includes sandwiches, salads and flatbreads, including one topped with peach, prosciutto, stracciatella cheese, arugula and pecans. No reservations.

Dinner Wed.-Sat. $$

Legacy Kitchen’s Craft Tavern — 700 Tchoupitoulas St., (504) 6132350; legacykitchen.com — The menu includes oysters, flatbreads, burgers, sandwiches, salads and a NOLA Style Grits Bowl topped with bacon, cheddar and a poached egg. Reservations accepted. Breakfast, lunch and dinner daily. $$

Legacy Kitchen Steak & Chop — 91 Westbank Expressway, Gretna, (504) 513-2606; legacykitchen.com — The menu includes filets mignons, bone-in rib-eyes and top sirloins, as well as burgers, salads and seafood dishes. Reservations accepted. Outdoor seating available. Lunch and dinner Mon.-Sat. $$

Luzianne Cafe — 481 Girod St., (504) 265-1972; luziannecafe.com — Cajun

Sunshine Beignets are stuffed with eggs, bacon, cheese and hot sauce. No reservations. Delivery available.

Breakfast and lunch Wed.-Sun. $$

Martin Wine Cellar — 714 Elmeer Ave., Metairie, (504) 896-7350; 3827 Baronne St., (504) 894-7444; martinwine.com —

The deli serves sandwiches and salads such as the Sena, with chicken, raisins, blue cheese, pecans and Tabasco pepperjelly vinaigrette. No reservations. Lunch daily. $$

Mikimoto — 3301 S. Carrollton Ave., (504) 488-1881; mikimotosushi.com —

The South Carrollton roll includes tuna tataki, avocado and snow crab. The menu also has noodle dishes, teriyaki and more. Reservations accepted. Delivery available. Lunch Sun.-Fri., dinner daily. $$

Mosca’s — 4137 Highway 90 West, Westwego, (504) 436-8950; moscasrestaurant.com — This family-style eatery serves Italian dishes and specialties including chicken a la grande and baked oysters Mosca. Reservations accepted. Dinner Wed.Sat. Cash only. $$$

Mother’s Restaurant — 401 Poydras St., (504) 523-9656; mothersrestaurant. net — This counter-service spot serves po-boys, jambalaya, crawfish etouffee, red beans and rice and more. Delivery available. No reservations. Breakfast, lunch and dinner daily. $$

Neyow’s Creole Cafe — 3332 Bienville St., (504) 827-5474; neyows.com — The menu includes red beans with fried chicken or pork chops, as well as seafood platters, po-boys, char-grilled oysters, salads and more. No reservations. Lunch daily, dinner Mon.-Sat., brunch Sun. $$

Nice Guys Bar & Grill — 7910 Earhart Blvd., (504) 302-2404; niceguysbarandgrillnola.com — Char-grilled oysters are topped with cheese. The menu also includes wings, quesadillas, burgers, salads, seafood pasta and more. No reservations. Lunch daily, dinner Mon.-Sat. $$$

Orleans Grapevine Wine Bar & Bistro — 720 Orleans Ave., (504) 523-1930; orleansgrapevine.com — The wine

old-fashioned

just like grandma used to make them.

bar’s menu includes Creole pasta with shrimp and andouille in tomato cream sauce. Reservations accepted for large parties. Outdoor seating available. Dinner Thu.-Sun. $$

Palace Cafe — 605 Canal St., (504) 523-1661; palacecafe.com — The contemporary Creole menu includes signature crabmeat cheesecake topped with mushrooms and Creole meuniere sauce. Outdoor seating available. Reservations recommended. Lunch Wed.-Fri., dinner Wed.-Sun., brunch Sat.-Sun. $$$

Peacock Room — Kimpton Hotel

Fontenot, 501 Tchoupitoulas St., (504) 324-3073; peacockroomnola.com — Black lentil vadouvan curry comes with roasted tomatoes, mushrooms and basmati rice. Reservations accepted. Dinner Wed.-Mon., brunch Sun. $$

Rosie’s on the Roof — Higgins Hotel, 480 Andrew Higgins Blvd., (504) 528-1941; higginshotelnola.com/dining — The rooftop bar has a menu of sandwiches, burgers and small plates. No reservations. Dinner daily. $$

Tableau — 616 St. Peter St., (504) 934-3463; tableaufrenchquarter.com

Pasta bouillabaisse features squid ink mafaldine, littleneck clams, Gulf shrimp, squid, seafood broth, rouille and herbed breadcrumbs. Outdoor seating available. Reservations recommended. Dinner Wed.-Sun., brunch Thu.-Sun. $$$

Tacklebox — 817 Common St., (504) 827-1651; legacykitchen.com — The seafood restaurant serves oysters, and dishes like redfish St. Charles with garlic-herb butter, asparagus, mushrooms and crawfish cornbread. Reservations accepted. Breakfast, lunch and dinner daily. $$

Tavolino Pizza & Lounge — 141 Delaronde St., (504) 605-3365; tavolinonola.com — The menu features thin-crust pizzas, salads, meatballs and more. A Behrman Hwy. pizza is topped with pork belly, caramel, carrots, radishes, jalapenos and herbs. No reservations. Outdoor seating available. Dinner Tue.-Sat. $$

Theo’s Neighborhood Pizza — 1212 S. Clearview Parkway, Elmwood, (504) 733-3803; 2125 Veterans Memorial Blvd., Metairie, (504) 510-4282; 4024 Canal St., (504) 302-1133; 4218 Magazine St., (504) 894-8554; 70488 Highway 21, Covington, (985) 234-9420; theospizza.com

A Marilynn Pota Supreme pie is topped with mozzarella, pepperoni, sausage, hamburger, mushrooms, bell peppers and onions. There also are salads, sandwiches and more. Delivery available. Lunch and dinner

Tue.-Sat. $

Tito’s Ceviche & Pisco — 1433 St. Charles Ave., (504) 354-1342; 5015 Magazine St., (504) 267-7612; titoscevichepisco.com — Peruvian lomo saltado features beef sauteed with onions, tomatoes, cilantro, soy sauce and pisco, served with fried potatoes and rice. Outdoor seating available on Magazine Street. Delivery available. Reservations accepted. Lunch and dinner Mon.Sat., brunch Sun. $$$

The Vintage — 3121 Magazine St., (504) 324-7144; thevintagenola.com — The menu includes beignets, small plates, flatbreads and a veggie pressed sandwich with avocado, onions, arugula, red pepper and pepper jack cheese. No reservations. Delivery and outdoor seating available. Breakfast, lunch and dinner daily. $$

Zhang Bistro — 1141 Decatur St., (504) 826-8888; zhangbistronola.com — The menu of Chinese and Thai dishes includes a Szechuan Hot Wok with a choice of chicken, beef, shrimp or tofu with onions, bell peppers, cauliflower, jalapenos and spicy sauce. Reservations accepted. Lunch and dinner Thu.-Tue. $$

El Pavo Real (4401 S. Broad Ave., 504-266-2022; elpavorealnola.com) serves tacos and other Mexican favorites in Broadmoor.

PHOTO BY IAN MCNULTY / THE TIMES-PICAYUNE

Animal of the Month: Indoor habitat and hear ty diet help ra re white alligators live in comfor t at Audubon Zoo

By Amanda McElfresh amcelfresh@theadvocate.com

Alligators are a common sight in and around Louisia na’s waterways, but the ex tremely ra re white alligators ca n only be found loca lly at Audubon Zoo and at the tota lly reimag ined and redesig ned Audubon Aqua rium that opens June 8, in New Orleans.

Th e Zo o is home to tw o wh it e al ligators – Two-Spot , who is 35 years old, and Victor, who is 12 Both have leucism, a ra re condition that resu lts in the al li gators havi ng translucent wh ite sk in, deep blue eyes and a hint of pigmentation around their bodies Leucism di ffers from albinism, which results in pink eyes and no pigmentation at al l. Ex perts believe there are on ly a ha ndfu l of white al ligators in the wild, although it is di fficult to determine an exact nu mber si nce youn g leucist ic al ligators are ea sy for predators to find because they lack protective coloring.

Dominique Fleitas, Assistant Curator of the Louisiana Swamp Ex hibit and Ja guar Jung le at Audubon Zoo, spoke to us about Two-Spot and Victor and what ma kes them favorites of staff and visitors alike.

How would you describe the white al ligators’ personalities?

Two-Spot is older and more chill. You’ll usua lly see him on the dock in his habitat He’s a great animal to work with during training. He’s always very respectful and ca lm Victor is much younger and, as is ty pica l of gators of his age and size,

he’s more energetic. He’s the one that ’s swimming around and moving back and forth around the habitat. He’s great with the trainers as well It ’s always a treat to work with both of them

What ty pes of food do they eat and how of ten do they eat?

Both of our white alligators eat quite a bit. Because they live in an indoor habitat with a temperature-controlled pool, we feed them year-round. They don’t have to eat ever y day, so they usua lly have one big meal each week or two smal ler ones if we are doin g trai ni ng sessions They li ke to eat a va riet y of meat , beef stea ks, ch icken that ha s been cut into quar ters, fish such as mackerel and trout, and frozen whole quai l that ha s been defrosted. Simi la r to our other animals, they also sometimes get a special biscuit that ’s made just for thei r species and ha s a lot of vita mins and nutr ients

Wh at ki nd of ha bi ta t do es Au du bo n Zo o pr ov id e f or th e white alligators?

Both of them live in an indoor habitat that is temperat ure-controlled We’ve found that this is the most effective way for them to avoid gett in g su nbu rn s. The water in the habitat’s pool is kept around 84 to 85 degrees and the building is at about 80 degrees. The gators love it when it ’s nice and wa rm and humid.

How do the wh it e al li gator s in t er ac t wi th Au du bo n Zoo visitors?

Two-Spot ha s been here a long time, so he’s used to visitors and enjoys people coming up to him . He li kes to sit front

and cent er and observe ever yt hin g. Vict or rea lly li kes to follow people around If you’re wa lking by his ex hibit and ca tch hi s eye, he ’l l st ay close because he’s very curious about what people are doing.

In general, what is the status of alligators in the wild?

Fortunately, al ligators are no longer enda ngered in the wild. At one point, they were threatened with ex tinction beca us e of overha rves ti ng . Si nc e then, there have been a lot of effor ts arou nd the world to improve thei r numbers. Ma ny al ligator fa rms have perm its to collect and ra ise eg gs and they are obligated to release a certain amou nt of them into the wi ld ba sed on the al ligators’ size. There are ma ny organ izat ions and agencies that are consta nt ly monitori ng the nu mbers and it ’s great to see that the al ligator popu lation ha s recovered.

Wa nt to visit?

The spring is a great time of year to visit the white al ligators at Audubon Zoo. The Zoo is open da ily from 10 a.m. 5 p.m. th roug h Labor Day. Visit www.audubonzoo.com for information on tickets, free pa rk ing and planning your Zoo tr ip

The best va lue if you plan on visiting the Zoo more th an once or pl an to visit Audubon Aqua rium and Audubon Insecta rium af ter they open on June 8 is to purchase an Audubon Membership. In addition to unlimited visits, Members enjo y di sc ou nt s at Au du bon gi ft shops, conc es sion s, speci al events such as Zoo-To-Do and Zoo-To-Do for Kids, Zoo Ca mps, and much more. For a fu ll li st of benef it s and to fi nd out how you ca n become a member, visit www.audubonmembership.com and save

This article is brought to you by Audubon Nature Institute

ARTS & ENTERTAINMENT

Ashlyn retired TAUT and later began SRSQ, a solo project weaving grand shoegaze and hazy dreampop. “Ever Crashing,” SRSQ’s second album, was released last year. SRSQ plays with Hard//Silk at 9 p.m. Wednesday, May 10, at Gasa Gasa. Tickets are $15 via ticketweb.com.

The Cure

THE CURE SEEMS TO HAVE A THING FOR KICKING OFF LONG-AWAITED NORTH AMERICAN TOURS IN NEW ORLEANS

The influential band started its 2016 U.S. tour with two nights at the UNO Lakefront Arena, and is now back seven years to the day to kick off its 2023 tour at the Smoothie King Center. The Cure, which landed in the Rock and Roll Hall of Fame since the last time they were in town, is on its Shows of a Lost World tour, named for the band’s anticipated 14th studio album — due out apparently whenever Robert Smith feels like it. Scottish postpunk band The Twilight Sad again opens for The Cure. Music starts at 7 p.m. Wednesday, May 10. Tickets start at $46 via smoothiekingcenter.com.

John Paul White

AMERICANA MUSICIAN AND FORMER HALF OF THE CIVIL WARS John Paul White plays Chickie Wah Wah — a great venue to catch this singer-songwriter — at 8 p.m. Wednesday, May 10. Tickets are $15 advance and $25 day of the show via chickiewahwah.com.

Scatterjazz

THE SCATTERJAZZ SERIES HOSTS TWO NIGHTS OF IMPROVISATIONAL MUSIC. At the Broadside on Wednesday, May 10, cellist and vocalist Helen Gillet performs with saxophonist Byron Asher and pianist and composer Daniel Meinecke, and Aurora Nealand and James Singleton perform together. North Carolina guitarist and reeds player Crowmeat Bob is joined by horn player Jeff Albert and guitarist Rob Cambre on Saturday, May 13, at Happyland Theater. Shows start at 7 p.m. Find details at scatterjazz.com.

Hunter Hayes

AT 17 YEARS OLD, HUNTER HAYES MOVED TO NASHVILLE and signed with a major label. Three years later, he topped the Billboard country charts with his debut album and opened for Taylor Swift. That was probably the best way to shake off the novelty of having been a child prodigy

from Breaux Bridge who played accordion, sang Cajun songs and performed at the White House at age 7. He’s since racked up numerous country music awards. In April, he released “Red Sky,” an album moving further into pop and featuring his silky vocals. Abby Anderson opens at 8 p.m. Sunday, May 14, at House of Blues. Find tickets via houseofblues.com.

Amina Figarova Sextet

JAZZ PIANIST AND BANDLEADER

AMINA FIGAROVA’S LATEST ALBUM , “Joy,” is aptly named. The 10-track album, which features guest vocals from New Orleans’ Sasha Masakowski, stays upbeat and sonically searches for optimism in the chaos of the last few years. Figarova is based in New york and New Orleans, and she plays local shows at 8 p.m. and 10 p.m. Friday, May 12, at Snug Harbor. Tickets are $30 via snugjazz.com.

The Psychedelic Furs

THE BRITISH POST-PUNK BAND WAS POPULAR ON U.S. COLLEGE RADIO IN THE 1980S before breaking through to wider audiences when it got a song in a popular movie soundtrack. Early in the pandemic, it released, “Made of Rain,” its first new studio album in nearly 30 years. At 8:30 p.m. Friday, May 12, at the House of Blues. Find tickets via houseofblues.com.

‘Romeo & Juliet’

FORMER HOUSTON BALLET SOLOIST OLIVER HALKOWICH choreographed New Orleans Ballet Theatre’s adaptation of Shakespeare’s tragedy about young lovers from feuding families. The ballet is at 2 p.m. and 8 p.m. Saturday, May 13, and 2 p.m. Sunday, May 14, at the Orpheum Theater. Find tickets via neworleansballettheatre.com.

BreakFest: Mother’s Day

THE BREAKFEST MUSIC SERIES PICKS BACK UP ON SUNDAY, May 14, at the Broadside with performances by soul vocalist Erica Falls and washboard-guitar-sousaphone trio The Tin Men. Things start at 9 a.m. with yoga accompanied by music by Radio Bird Quartet. There also will be brunch food vendors, Hey! Coffee Co. slinging drinks, and bloody marys and mimosas. Joshua Starkman hosts. Remember it’s Mother’s Day, so do something nice for your momma. Tickets are $20 until May 7 via broadsidenola.com and $25 after.

FOR COMPLETE MUSIC LISTINGS AND MORE EVENTS TAKING PLACE IN THE NEW ORLEANS AREA, VISIT CALENDAR.GAMBITWEEKLY.COM

To learn more about adding your event to the music calendar, please email listingsedit@gambitweekly.com

TUESDAY 9

CAPULET — Mia Borders Trio, 6:30 pm

CHOP HOUSE — Phil Melancon, 6 pm

D.B.A. — Lulu & The Broadsides, 9 pm

FRITZEL'S EUROPEAN JAZZ CLUB — Richard “Piano” Scott, 12:30 pm, Colin Myers, 5 pm; Fritzel's All Star Band, 8 pm

THE RABBIT HOLE — Rebirth Brass Band, 10 pm

WEDNESDAY 10

BAMBOULAS — Boardwalker and the 3 Finger Swingers, 1:15 pm; John Saavedra, 4:30 & 5:30 pm; Roule and the Queen, 9 pm

BLUE NILE — New Breed Brass Band, 9 pm

BROADSIDE — Helen Gillet, Byron Asher & Daniel Meinecke, Synth Bomb Trio, James Singleton & Aurora Nealand Duo, 7 pm

BUFFA’S — Wooton Wednesdays, 7 pm

D.B.A. — Tin Men, 6 pm

FRITZEL'S EUROPEAN JAZZ CLUB — Richard "Piano" Scott , 12:30 pm

THE JAZZ PLAYHOUSE — Big Sam, 7:30 pm

LAFAYETTE SQUARE PARK — Nigel Hall, Miss Mojo, 5 pm

LOBBY LOUNGE AT THE HARBOR CENTER — Kristin Diable, 7 pm

MUSIC BOX VILLAGE —

KOKOKO!, 7 pm

NEW ORLEANS JAZZ MUSEUM — Wayne Maureau's Nu Vieuxdoo, 2 pm

SMOOTHIE KING CENTER —

The Cure, 7 pm

THE UNIVERSITY OF NEW ORLEANSPERFORMING ARTS CENTER RECITAL

HALL — Lott String Quartet, 7:30 pm

THURSDAY 11

BLUE NILE — Where y'at Brass Band, 9 pm

BROADSIDE — Louis Michot & Aurora Nealand’s Monocle, 7 pm

BUCKTOWN MARINA — A Concert at the Lake, 7 pm

BUFFA’S — Tom McDermott and Meshiya Lake, 8 pm

D.B.A. — Zydefunk, 10 pm

FRITZEL'S EUROPEAN JAZZ CLUB —

Richard "Piano" Scott, 12:30 pm; Doyle Cooper, 2:30 pm; John Saavedra, 5 pm; Fritzel's All Star Band, 8 pm

THE JAZZ PLAYHOUSE — Brass-AHolics, 7:30 pm

LE BON TEMPS ROULE — Soul Rebels, 11 pm

PAVILION OF THE TWO SISTERS —

Walrus, Electric yat Orchestra, 6 pm

PEACOCK ROOM, HOTEL FONTENOT

— Da Lovebirds with Robin Barnes and Pat Casey, 8 pm

TIPITINA'S — Boogie T.Rio, 7 pm

FRIDAY 12

BJ’S — Jackson and the Janks, Lesser Man, 9 pm

BLUE NILE — The Caesar Brothers, 7 pm; Kermit Ruffins and the Barbecue Swingers, 11 pm

BLUE NILE BALCONY ROOM —

Trumpet Slim & Brass Flavor, 10 pm

BUFFA'S BAR & RESTAURANT —

A Pretty Good Alibi, 8 pm

D.B.A. — Big Sam’s Funky Nation, 10 pm

DOUBLE DEALER COCKTAIL BAR AT THE ORPHEUM THEATER — Eric Johanson, 9 pm

FRITZEL'S EUROPEAN JAZZ CLUB —

Richard “Piano” Scott, 12:30 pm; Sam Friend Band, 2:30 pm; Matinee All Stars, 6 pm; Fritzel's All Star Band, 9 pm

THE GOAT — Tyrant, Dark Entity, Void, Witch Burial, 8 & 9 pm

GASA GASA — Willie Watson, 9 pm

MANDEVILLE TRAILHEAD —

After Party, 6:30 pm

MAY BAILY'S PLACE — Nanci Zee Trio, 4:30 pm

MUSIC BOX VILLAGE — Trenton O'Neil House Band, 5 pm

PEACOCK ROOM, HOTEL FONTENOT — DJ Joy Joy, 7 pm

PUBLIC BELT AT HILTON RIVERSIDE — Phil Melancon, 5 pm

REPUBLIC NOLA — Loud Luxury, 11 pm

SANTOS — Mareux, 9 pm

TIPITINA’S — Steppin’ Out — Another Another Right On Party Situation with DJ Soul Sister and Host MC Charlie V, 9 pm

SATURDAY 13

BB'S STAGE DOOR CANTEEN, NATIONAL WWII MUSEUM —

Dine & Dance with the Victory Swing Orchestra, 6 pm

BJ’S — Jackson and the Janks, Lesser Man, 9 pm

BLUE NILE — George Brown Band, 7 pm; The Soul Rebels, 11 pm

BLUE NILE BALCONY ROOM —

The Marigny Street Brass Band, 10 pm

BROADSIDE — Green Corps 15th Anniversary Celebration feat. Da Truth Brass Band, T Marie & Bayou

Juju and more, 5:30; The Cabinet of Dr. Caligari and Un Chien Andalou Live Score by Brian Haas, Helen Gillet, James Singleton and Otto Schrang, 9:30

BUFFA’S — Elijah Hartman, 8 pm

D.B.A. — The Original Pinettes Brass Band, 10 pm

DEW DROP SOCIAL & BENEVOLENT

HALL — The Jump Hounds, 6:30 pm

DOUBLE DEALER COCKTAIL BAR AT THE ORPHEUM THEATER — Eric Johanson, 9 pm

FRITZEL'S EUROPEAN JAZZ CLUB — Richard "Piano" Scott, 12:30 pm; Steve Detroy, 2:30 pm; Matinee All Stars, 6 pm; Fritzel's All Star Band, 9 pm

THE JAZZ PLAYHOUSE — Nayo Jones, 7:30 & 9 pmGASA GASA — Sarah Shook and the Disarmers, Buffalo Nichols, 9 pm

HIDEAWAY DEN & ARCADE — Rhythm Chasers, 8 pm

KERRY IRISH PUB — Crescent & Clover, 5 pm

PUBLIC BELT AT HILTON RIVERSIDE — Phil Melancon, 5 pm

REPUBLIC NOLA — Luzcid, 11 pm

SANTOS — OURS with Chris Mercer and Damien Musto, 9 pm

SUNDAY 14

BLUE NILE — Street Legends Brass Band, 10 pm

BLUE NILE — The Baked Potatoes, 7 pm

BROADSIDE — BreakFest 2023: Mother’s Day with Erica Falls & The Tin Men, 9:30 am

BUFFA’S — Traditional Jazz Brunch withSome Like It Hot!, 11 am; Z2 Jazz Band, 7 pm

D.B.A. — Palmetto Bug Stompers, 6 pm; Treme Brass Band, 9 pm

FRITZEL'S EUROPEAN JAZZ CLUB — Ted Hefco Band, 12 pm; Joe Kennedy, 2 pm; Marla Dixon, 5 pm; Fritzel's All Star Band, 8 pm

THE JAZZ PLAYHOUSE — Glen David Andrews Band, 7:30 pm

HOWLIN' WOLF — Hot 8 Brass Band, 10 pm

REPUBLIC NOLA — Lyfe Jennings, 8 pm

SIBERIA — Big Leathe, T.A.C.K., Thank you, I'm Sorry, Joshua the Bock, 9 pm

SMOOTHIE KING CENTER — Fantasia, 8 pm

TIPITINA’S — Fais Do Do with Bruce Daigrepont Cajun Band, 4:45 pm

MONDAY 15

FRITZEL'S EUROPEAN JAZZ CLUB — Matinee All Star, 12:30 pm; Lee Floyd and Thunderbolt Trio , 5 pm; Richard Scott and Friends, 8 pm

SCAN FOR THE COMPLETE GAMBIT CALENDAR

DJ Soul Sister returns to Tipitina’s Friday, May 12

PHOTO BY SOPHIA GERMER / THE TIMES-PICAYUNE

TO

Soul antidote

by Jake Clapp

DANIELLE PONDER HAS HAD SOME MAJOR MOMENTS IN THE LAST FEW YEARS since leaving her job at the Rochester, New york, public defender’s office to pursue music full time. The soulful songwriter and powerhouse vocalist released her debut full-length album, played “Late Night with Seth Meyers” and “Jimmy Kimmel Live,” and toured with Marcus Mumford on his solo venture.

One of the biggest moments, though: Appearing on “General Hospital.” Ponder made her acting debut on the long-running soap in April, performing her epic groove “Someone Like you.”

“That’s where I was like, ‘Oh man, I’m really on TV, TV.’ This isn’t ‘Tune in, I’m on Jimmy Kimmel.’ I’m entering other people’s worlds,” Ponder says from the car on her way to New Orleans. Ponder last week joined Karl Denson’s Tiny Universe at the Orpheum for a tribute to Amy Winehouse, and she returns this week for a headlining show on Saturday, May 13, at the Toulouse Theatre.

The “General Hospital” appearance put Ponder in front of a wider audience — for good and bad. Ponder has been playing music for more than two decades, fronting the soul band Black August and R&B group The Tomorrow People, and is a beloved part of the Rochester music community. She’s seen her share of comments worthy of cocking an eyebrow over, but a larger platform has come with more exposure.

“I come from a very supportive city, and I still am getting 90% supportive feedback, but you just open up the flood work for all types of people to start commenting on your content,” she says. “That’s been something I’ve been like, ‘Huh, OK this is a little bit of an adjustment.’ ”

Ponder grew up in Rochester as the sixth of seven kids, and her father is a pastor who sang and played piano. Ponder didn’t perform music in church, but she also learned to play the piano and sing at home and found early influence in gospel singer Shirley Caesar. As she grew older, she took in a wide range of music, from Big Mama Thornton, Aretha Franklin and Nina Simone to Portishead and East Coast hip-hop.

When she was 16, Ponder joined her cousins in a family band, playing guitar. But that same year, her brother was sentenced to a 20-year

prison term, an event that sent her down a path of criminal justice advocacy. Ponder earned her law degree, and she has been a tireless activist in Rochester — a city with a deep history of activism as the home of Susan B. Anthony, Frederick Douglass and Emma Goldman.

Over the years, Ponder’s music career has led her to tour Europe and opened for George Clinton and The Roots. But it wasn’t until 2018 that she decided to take the leap into pursuing music full-time.

Last year, Ponder released her debut full-length solo album, “Some of Us are Brave,” which takes its name from a Black feminist text, “All the Women are White, All the Blacks are Men, But Some of Us are Brave.”

The eight-track album plays like an encapsulation of Ponder’s heart, weaving in psychedelic soul, alternative R&B, trip-hop beats and exhilarating moments of release. Similarly, Ponder is singing from her heart, sharing intimate feelings about romance, heartbreak and racial injustice.

“I like to say that I’m talking about the things that have personally impacted me, that have brought me pain. That is what songwriters write about,” Ponder says. “The interesting thing to me is that writing about race is always separate, as something different, because white artists don’t write about it. But Black people, I’m experiencing pain from racism, just as I’m experiencing pain from heartbreak, from anything else in my life. And my antidote to that pain has always been music.”

Danielle Ponder plays at 8 p.m. Saturday, May 13, at Toulouse Theatre. Tickets are $22 via toulousetheatre.com. Find Ponder’s music at danielleponder.com.

Singer-songwriter Danielle Ponder plays the Toulouse Theatre on May 13.

PROVIDED PHOTO BY ROBERT GERTLER

34

By Frank A. Longo

Lot567:French Or molu MountedLouis Philippe Carved Walnut Marble TopCommode,19thc., H.-361/2 in., W.-47in.,D.- 23 1/2in. Est. $1,500-$2,500

Lot416:French ProvincialCar ved OakMonastery Table, 19th c., H.-291/4 in., W.-8 01/4 in., D.-323/4 in.Est.$1,000-$2,0 00

IMPORTANTM AY ESTATESAUCTION

Lot351 &352:Gla ss Includes Baccaratt “Vecteur” Cr ystal Va se,incobalt andclear cr ystal, H.-97/8 in., W.-8in.,D.- 21/2 in.and a Baccarat“Oceanie” Va se H.-8in.,W.- 81/4 in., D.-57/8 in.Est.$30 0-$500 each

Lot463:French LouisX VStyle Inlaid Cherry Or molu Mounted BombeMarbleTop Commode, 20th c.,H.- 34 3/4in.,W.- 45 1/2in.,D.- 20 1/8in. Est. $700-$1,20 0

Lot425: LargeA merican Carved Mahoga ny ChippendaleStyle FivePedestal Ba nquetTable mid-20thc., totalw.- approx. 27 ft

Lot570:A merican Carved OakEagle Lecter n, 20thc., H.-76in.,Dia.- 22 1/2in.

Est. $1,0 00-$2,0 00

Lot583:Ida RittenbergKohlmeyer (Louisiana,1912-1997),

Jewelr yIncludes Man’sand Lady’s RolexWat ches,GoldLinkBracelet.

TopOrmoluMounted Inlaid Walnut Louis XV St yleBombeCommode,20th c.,H.- 36 in., W.-561/2 in., D.-221/4 in.Est.$1,50 0-$2,500

Lot497:Niekvan derPla s(Dutch, 1954-), “CafedeFlore,” 20thc., oilonpanel,H.- 16 1/2in.,W.- 29 5/8in. Est. $2,0 00 -$3,000

Lot426:A merican Carved MahoganyFourPosterTester Bed, 19th c.,H.- 94 in., Int. W.-53in.,Int.D.- 72 in Est. $500-$1,0 00

Lot627:Gustave Courbet (French, 1819 -1877),“Autumnal Landscape,”19th c. oiloncanva s, H.-153/8 in., W.-193/8 in Est. $10,0 00-$20,000

Lot400:ConstantTroyon(French,1810-1865), “Vaches dans un Paysage,”19thc., oiloncanva s, H.-213/4 in., W.-281/2 in.Est.$1,50 0-$2,500

Lot644:PairofLarge French Capodimonte St yle Terracotta Baluster Planters,20thc., H.-18in.,W.- 22 1/2in.,D.- 18 in.Est.$1,20 0-$1,800

D.-93/4 in.Est.$1,00 0-$2,0 00

Lot476:UnusualLarge Setof Twenty-T wo Gilt LouisX VI St yle DiningChair s, 20thc., Est. $2,500 -$4,50 0

Crescent City AuctionGallery,LLC 1330 St.Charles Ave, NewOrleans,La70130 504-529-5057 •fax 504-529- 6057 in fo@crescentcityauctiongaller y.com 25%Buyer sPremium Foracompletecatalog,v isit ourwebsite at: ww w.crescentcityauctiongaller y.com LA Auc LicA B-411, 1354,1529

Lot571:Newcomb CollegeHig hGla ze Ir is Va se,1908byMar ia de Hoa

Leblanc, H.-91/8 in., Dia.-5 1/4in. Est. $6,0 00-$9,0 00

0-$5,0 00

Lot560:French ProvincialCar vedOak Monastery Table, 19th c.,H.- 29 1/4in., W.-8 01/4 in., D.-323/4 in.Est.$1,50 0-$2,500

Lot626:Sir Edw in Henr yLandseer, RA (British, 18021873), “Por traitofaFalconerand HisFalcon,” 19th c.,oil on panel,H.- 13 7/8in.,W.- 10 1/4in., Framed H.-21in.,W.- 17 1/2in. Est. $5,0 00-$10,0 00

GardenBronzes andFountain Figures

Lot556:French Marble

Lot628:EmilioSanchez(Cuban/New York , 1921-1999),“Ca sita en MiamiRosada,”20thc., oiloncanva s, H.-24in.,W.- 36 in Est. $15,000-$20,0 00

Lot577:ClementineReuben Hunter (Louisiana,18871987), “SaturdayNig ht at theJukeJoint,” 20th c.,oil on canvas board, H.-101/2 in., W.-131/2 in., Framed H.-14in.,W.- 17 in.Est.$3,00

Lot578:Rober tMalcolm Rucker (Louisiana,1932-20 01), “PinkCrepe Myrtle,” 20thc., oiloncanva s, H.-71/2 in., W.-91/2 in., W.-161/4 in Est. $500 -$90 0

Lot594:French Taha nTor toiseshell Boulle Inlaid Cave aLiqueur,19thc., in or ig inal Tahanbox,H.- 93/4 in., W.-137/8 in.,

“MythicPrint,” 1985,silk screen, edition33/10 0, H.-471/2 in., W.-351/4 in Est. $1,500 -$2,50 0

Lot511 &512:T wo Ca st Iron GardenBenches, mid20th c., H.-43in.,W.- 51 in., D.-24in. Est. $8 00 -$1,20 0

Lot474:PairofLouis XV St yleGiltMarble TopConsole Tables andM irrors,20th c.,the bowfront serpentine fig ured red marble over a piercedskirt,oncabriolelegsjoinedbyX-for m stretchers,H.- 32 1/4in.,W.- 39 in., D.-131/2 in., togetherw ithlarge gilt mirrors, H.-52in., W.-36in.,D.- 10 in.Est.$1,50 0-$2,0 00