10 minute read
Film
Stormsurge
by Jake Clapp
EDWARDBUCKLES JR.WAS 13 IN
AUGUST2005 when he and his family evacuated New Orleans shortly before Hurricane Katrina made landfall. The family spent nearly a year in Lafayette before returning home to a city that would be forever changed.
Years later, after he had picked up a camera and started a career in filmmaking, Buckles began interviewing his friends and peers about Hurricane Katrina and the federal levee failures. He discovered a common theme: No one had ever asked them their “Katrina stories.”
Many of those interviews can be seen in “Katrina Babies,” Buckles’ powerful documentary now airing on HBO and streaming on HBO Max. Buckles, who now splits his time between New Orleans and New York, began filming interviews in 2015, and the project was released shortly before the 17th anniversary of Katrina. The film has received widespread acclaim.
Early in the film, Buckles makes an undeniable statement: When disaster strikes in America, no one thinks about Black children. “Katrina Babies” shows that truth through the stories of Black young adults who were children and teens when Katrina upended their lives. Buckles was a former digital media instructor at Edna Karr High School, his alma mater, and many of his students also are interviewed for the film. While they share foggy memories of Katrina — they were only 4 or 5 years old during the storm — many of the students talk about growing up in post-Katrina New Orleans.
“Katrina Babies” is a personal film — Buckles’ experiences before, during and after Katrina are the story’s sails — but its scope is wide as it explores intergenerational trauma, how society continues to fail Black children and how healing can finally start by getting to share a personal story.
Gambit reached Buckles by phone while he was packing for a trip to Switzerland, where “Katrina Babies” was screened at the Zurich Film Festival. An edited transcript of that interview follows. Find more at bestofneworleans.com.
How hasthe reaction to“Katrina Babies”been inyourview?
and just take this film and show it so much love, [for them] to say how real it is and how true it is and how much they can relate to it and how much it’s impacting them — that’s been a level of validation that no award, no big studio and no outsider can give me.
PROVIDED PHOTO BY MYESHA EVON GARDNER
Haveyou noticed differences inthe reactionsbetweenpeople who went through Katrina versusthose whoareoutside New Orleansand thearea?
BUCKLES: I think that the biggest difference is just that for people who are from New Orleans or people who have experienced Hurricane Katrina, it’s a much harder watch. No matter how great this film is, at the end of the day, I understand that anytime someone who has experienced Hurricane Katrina watches this film, they’re being re-traumatized. It’s a much harder task. I appreciate everybody who presses play on HBO on this, but I have a different level of respect and empathy.
You make it clearinthe documentary that a lotof thingsyou andyourfriends wentthroughafter Katrina, you nowsee in yourstudents. But I wascurious if yousaw differences in howMillennials andGenZ processedKatrina while youwereinterviewing yourstudents.
BUCKLES: The main difference was when you’re dealing with intergenerational trauma — and again our young people are experiencing some of the same things that we experienced. Generation Z is kind of taking the torch, if you will, on a lot of the trauma we pass to them. Although some of them may not have experienced Hurricane Katrina in the same way — some of them may have only been 2 years old, 1 years old, some weren’t even born yet — I think that they are … I’m trying to think how I can say this … They are experiencing the aftermath and the impact of Hurricane Katrina almost two decades later, which means that it’s enhanced, which means that it’s a more mature impact because it’s been around and structured into our community and our lives in a way that’s more settled. That’s more dangerous.
Filmmaker EdwardBucklesJr.
You pointout in thefilm thatgentrification had started before Katrina,but the hurricane hyper-accelerated it, andit’songoing.Itfeels like the generationsofKatrina babies couldbealmost unendingunlessthere’s pushback on that Katrinaaccelerated gentrification.
BUCKLES: That’s exactly it. It’s happening in our communities right now. It’s related — it’s all dancing together. Gentrification and disenfranchised Black people being displaced in New Orleans and being forced to live in different neighborhoods and violence that’s coming from that. Young people being at the front of that violence.
If you notice now, it’s way more young people [caught up in violence], and my thing is how can we not draw parallels with what is happening with young people in New Orleans today and what happened in 2005. If we can believe these young people who experienced Hurricane Katrina are traumatized and are dealing with anxiety and PTSD, why can’t we believe in the ways that they’re showing it? When you see young people at the front of this violence, carjackings, how can you blame them? You have to look at the root of the problem, and you start to draw links back to things that were never addressed.
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PAGE 5
Wilco
WILCOISCLOSING IN ON 30 YEARS
ASA BAND, and its output has ranged from its alt-country beginnings in the dissolution of Uncle Tupelo to its indie rock milestone album “Yankee Hotel Foxtrot” and more experimental leanings in recent years. In May, the band released its 12th studio album, “Cruel Country,” coming full circle back to its Americana roots. Wilco plays two nights in New Orleans at 7:30 p.m. Tuesday, Oct. 4, and Wednesday, Oct. 5, at the Civic Theatre. Tickets are $55 via civicnola.com.
Cimafunk
AFRO-CUBAN FUNK PHENOM CIMAFUNK MAYNOT OFFICIALLY HAVEA SECOND HOME IN NEW
ORLEANS, but by this point he may want to consider renting. The charismatic funk frontman has called New Orleans “a home away from home” because of the similarities with Havana as well as for the African-rooted connections he sees between AfroCuban genres and New Orleans music. Cimafunk is back in New Orleans for a show with Galactic’s Stanton Moore at 9 p.m. Tuesday, Oct. 4, at d.b.a. Tickets are $50 via dbaneworleans.com.
Que Pasa Fest
TURES two days of music, food and more in Lafreniere Park in Metairie. The music lineup includes Anthony, formerly of the Dominican merengue band La Makina, Honduras’ La Banda Blanca, local Latin band La Tran-K Band, Grupo Recuerdos, Rumba Buena, La People, local Cuban artists Javier Olondo & AsheSon, cumbia band Los Guiros and more. From 11 a.m. to 9 p.m. Saturday, Oct. 8, and Sunday, Oct. 9. Visit quepasafest.org for information.
Where Nothing Burns
NEW ORLEANSALTERNATIVE ROCK BANDWHERE NOTHING BURNS
released its debut, self-titled album earlier this year, and they’re finally celebrating the release with a headlining show at One Eyed Jacks. The rock quintet will be joined by Prey for Neighbors and Crush Diamond at 10 p.m. Friday, Oct. 7. Art by Katie Kut also will be on display. Tickets are $10 at oneeyedjacks.net.
Dave Jordan & The NIA
HIS LATEST ALBUM, “Keep Going,” with guitarist Anders Osborne (who produced the record), bassist George Porter Jr., drummer Chad Cromwell and violinist Rurik Nunan. Jordan and his regular band The Neighborhood Improvement Association is now releasing the album with a show at 11 p.m. Friday, Oct. 7, at Maple Leaf Bar. A John Prine fan, Jordan & The NIA also will play some of the late musician’s tunes in recognition of what would have been his birthday on Oct. 10. Tickets are $20 at the door or $15 at mapleleafbar.com.
Marc Stone
ROOTS ANDBLUES SINGER-SONGWRITERMARC STONETAKES UP
A WEEKLY RESIDENCY through October at the Maple Leaf starting Wednesday, Oct. 5. Stone will be joined by keyboardist Keiko Komaki, drummer Donald MaGee and saxophonist Joshua Smith along with different guests each week. On Oct. 5, Mark Mullins and Joshua Paxton will play with Stone and his band. The show starts at 9 p.m., and tickets are $15 at the door or $10 in advance at mapleleafbar.com.
‘HAMILTON’CREATOR LINMANUEL MIRANDA’STONYAWARD-WINNING
MUSICAL is set in a predominantly Dominican American community in New York’s Washington Heights neighborhood. Usnavi, a bodega owner, narrates the story about his block and neighbors including Vanessa, a salon stylist, Nina, a struggling student, Graffiti Pete, a street artist and others. JPAS presents the musical at the Jefferson Performing Arts Center at 7:30 p.m. Friday, Oct. 7, and Saturday, Oct. 8, and 2 p.m. Sunday, Oct. 9, and Oct. 14-16. Tickets $23-$65 via jpas.org.
Japan Fest
THERE’S TAIKODRUMMING, SAMURAI ARMORFROMTHE JAPAN
FOUNDATIONINNEW YORK, martial arts demonstrations, a fashion show and more at the annual celebration of Japanese culture at the New Orleans Museum of Art. The festival includes the museum’s Japanese art galleries and demonstrations in the sculpture gardens. From 10 a.m. to 4 p.m. Saturday, Oct. 8. Admission is $10. Visit noma.org for information.
Bluesberry Festival
SAMANTHAFISH, BAND OF HEATHENS
AND JONATHAN LONGHEADLINE the blues festival at Bogue Falaya Park in Covington. There are two music stages, art demonstrations and craft vendors, a kids area and food trucks. From 11:30 a.m. to 9 p.m. Saturday, Oct. 8. Tickets $30 in advance, $40 at the gate. Visit thebluesberryfest. com for information.
‘Pretty Woman’
THE 1980ROMANTIC COMEDY ABOUT A PROSTITUTE ANDA CORPORATE
RAIDER got a Broadway adaptation by the director and choreographer behind “Hairspray” and “Kinky Boots.” The touring musical production is at Saenger Theatre Tuesday, Oct. 4, through Sunday, Oct. 9. Showtimes vary. Visit saengernola.com for tickets.
Pitbull
REGGAETON ANDLATIN POPSTAR
PITBULL HEADLINES the Smoothie King Center at 8 p.m. Thursday, Oct. 6. Rapper Iggy Azalea opens. Tickets start at $16 via smoothiekingcenter.com.
Titus Andronicus
THOUGH STILLLED BY GUITARISTAND
VOCALISTPATRICK STICKLES, Titus Andronicus has been through various lineup changes since it burst on the scene with punk fury in 2005. The band’s settled into an indie rock sound on “The Will to Live,” released last week. The album reflects on the death of original member Matt Miller last year. Country Westerns opens at 9 p.m. Thursday, Oct. 6, at One Eyed Jacks. Tickets $22 via oneeyedjacks.net.
Spoon
AUSTININDIE ROCK BAND SPOON RELEASEDITS 10THSTUDIO
ALBUM, “Lucifer on the Sofa,” in February. In November, it will release a remixed version of the entire album by Adrian Sherwood dubbed “Lucifer on the Moon.” The band is at Toulouse Theatre for shows at 8 p.m. Thursday, Oct. 6, and Friday, Oct. 7. Tickets $45-$60 via toulousetheatre.com.
