March 2016
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March 2016
features
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A UNIQUE OUTDOOR EXPERIENCE: SYMPHONY SUNDAY IN THE PARK
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Compete in a picnic decorating contest, explore the instrument petting zoo and enjoy the musical offerings of the Acadiana Symphony. The 10th anniversary of this outdoor pops concert has a few surprises in store.
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ONENESS IN DESIGN AND PURPOSE
Designed as symbols of the oneness of humanity, the houses of worship of the Bahá’í Faith reflect the values of the religion while providing peaceful, sacred spaces for all visitors.
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CIAO BELLA!
50 years in the restaurant industry have helped the owner of Cafe Bella learn a thing or two about creating an authentic, old-wordItalian aesthetic and cuisine with an artistic, Cajun flare.
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KRVS RADIO ACADIE
For over 25 years, this local affiliate of National Public Radio has broadcasted a wide range of musical styles, talk programing and beyond.
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CELEBRATING CELTIC CULTURE IN ACADIANA Trace your Celtic roots. Enjoy Scottish Highland Dancers and Irish storytelling in the children’s tent. Try Irish drink specials at the Whiskey Snug or the concoctions in a Guinness Cook-Off. Acadiana residents of all ages can explore Celtic culture at the Bayou Celtic Festival.
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contents
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8 OPENING NOTES Jenny Krueger, Executive Director 10 FANFARE Mariusz Smolij, Music Director & Conductor 24 THE HEALING POWER OF THE ARTS Tune in to Your Creative Needs 34 FOLK HOLIDAY DECORATIONS How to Make Cascarones for Easter 36 HOT CROSS BUNS Illegal Goods and Good Luck Charms 38 NICOLE LEBLANC A Look at the Designer of Warehouse 535 40 OLIVER AND THE VIOLIN Parents Encouraging Creativity in Their Kids 42 SYMPHONY SEAUXCIAL HIGHLIGHTS Heartstrings
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44 STANDING OVATION Advertisers in Overture 46 COMMUNITY SEAUXCIAL HIGHLIGHTS Krewe de Bayou’s VooDoo Masquerade Mardi Gras Ball
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36 38 6 March 2016
Overture Magazine
VISIT OUR SECOND LOCATION March 2016 Vol. 3, No. 6
PUBLISHED BY
EDITOR Jenny Krueger jenny@acadianasymphony.org
PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org
ASSISTANT EDITOR Danielle Ducrest overture@acadianasymphony.org
ARTISTIC TEAM Alyce Ray alyce.ray@acadianasymphony.org
WRITERS Emily Brupbacher Catherine Schoeffler Comeaux Johanna B. Divine, Ann B. Dobie Danielle Ducrest ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823
CONTRIBUTING WRITERS Denise Gallagher, John Guidry Caroline Helm, Jenny Krueger Mariusz Smolij
2207 Kaliste Saloom Rd. Suite G 337•456•3759 Signiture Accessorizing • Window Treatments & Draperies • Paint Consultations
MAILING ADDRESS 412 Travis Street Lafayette, LA 70503 ON THE WEB acadianasymphony.org
Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Supported in part by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation & Tourism, in cooperation with the Louisiana State Arts Council, and the National Endowment for the Arts, a Federal agency.
Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers.
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Opening Notes
Let’s Get Creative! Jenny Krueger, Executive Director
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I have always craved a creative outlet. I become stale and dull when I haven’t had a chance to be creative, but when I am allowed the freedom to be creative, I produce my best work. When I was a stay-at-home Mom, I used to do arts and crafts with my son, Ben, and scrapbooking with friends. I can say that it’s been awhile since I’ve done that. I miss it! Thanks to my little sister, I’ve rediscovered coloring. She gave me one of the new, hip adult coloring books that you might have seen lately. She even made sure she gave me the markers needed to color these very ornate pictures. I have to admit I enjoy finding some time in the evening to pull out that coloring book. Coloring in my book makes me think of her, but it also allows me a short burst of creativity. I’m loving it. The March issue of Overture explores spirituality and creativity. I am hoping that creativity becomes the new, hip buzz word of 2016. Being creative is different for everyone. For some people, it’s crafting, and for others, it might be woodwork. It can come in the form of a canvas or a piece of jewelry, a garden or a meal for your loved ones. Take a glance at Caroline Helm’s “Healing Power of the Arts” feature to gain some ideas and the courage to once again find your inner, creative self. You will enjoy her argument on why being creative is so important to our growth and our lives. If getting creative with your children is something you enjoy, then you will like getting to know Denise Gallagher and her violin-loving son, Oliver. This family is extremely special. Find out why. Make visible what, without Speaking of creative people, how about the team at our beloved KRVS Radio Acadie? Enjoy our sit-down with the leadership team of KRVS and learn how these creatives are using programming and technology to keep their listeners both near and far happy and engaged.
you, might perhaps have never been seen. ~ Breeson
So grab a book, a paintbrush, gardening gloves or your cooking mitts and take some time to be creative. In this world that is filled with too many hardships and struggles, let’s make an effort to add some color and happiness for ourselves and those around us. Go on, get your creative on!
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Fanfare
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“SPRING” into Classical Music Mariusz Smolij, Music Director and Conductor
I would like to share a few thoughts on why listening to classical music matters. Why Beethoven or Schubert instead of, or perhaps next to, contemporary stars such as Beyoncé or Justin Bieber? I came across a very interesting book, “Why Classical Music Still Matters” (University of California Press, 2007) by Lawrence Kramer. I could not agree more with some of his observations: “Classical music by definition is addressed to someone who has a certain independence of mind. It almost provides its audience a certain degree of identity, which includes that sense of individual capacity to think, to sense, to imagine.” He adds: “Classical music invites listeners to focus, to take in and to follow what is almost a narrative that unfolds over a relatively long period of time. Length itself is one of the genre’s defining elements. I do not contend that classical music is weightier than other types of music. Mahler’s ‘Resurrection’ Symphony is no more profound than ‘Eleanor Rigby.’ But it can be a whole lot longer.” Lots of listeners, particularly of a younger age, jump at the first opportunity to listen to what’s at the top of the current playlist or what the popular presenters are pushing at radio stations any given week. That makes them likely to follow musical decisions made, in most part, by someone else. If one looks for the instant “wow” factor, it is certainly possible to find in classical music. What could have a more powerful, rhythmic drive and more exciting sounds than Stravinsky’s “The Rite of Spring” or Orff’s “Carmina Burana?” Yes, classical music requires a longer attention span, but one reason the famous album, “Sgt. Pepper’s Lonely Hearts Club Band,” stunned everyone after its 1967 release was that it was not just a collection of songs but a whole composition, about 40 minutes total. That was a new experience in rock. As the Beatles musically matured with “Sgt. Pepper,” they also pointed the way to longer musical compositions. To start your spring on the right “classical foot,” consider listening to: “The Rite of Spring” by Igor Stravinsky Its premiere in Paris in 1913 caused a sensation and riots in the audience, a little bit like early punk concerts in 1980 in America. 34 minutes. Recommended recording: Netherlands Radio Philharmonic Orchestra; Jaap van Zweden, conductor. “Spring Symphony” by Robert Schumann This German, 19th-century master will take you on a romantic journey of the beautiful German countryside. 33 minutes. Recommended recording: Vienna Philharmonic Orchestra; Leonard Bernstein, conductor. “Spring Sonata” for violin and piano by Ludwig van Beethoven One of the true jewels of chamber music repertoire. 27 minutes. Recommended recording: Anne-Sophie Mutter, violin, and Lambert Orkis, piano. “Short Ride on a Fast Machine” by John Adams This most popular short work by a contemporary American composer will give you a special shot of energy to start a new season, a new week or a new day. 5 minutes. Recommended recording: San Francisco Symphony; Michael Tilson Thomas, conductor.
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A UNIQUE OUTDOOR EXPERIENCE
Symphony Sunday in the Park
by Danielle Ducrest
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City Park in New Iberia is a hidden surprise for an out-of-towner like myself, concealed as it is from Bayou Teche by thick scrub and accessible through neighborhood streets. I visited it last year for an event that only happens at the park. Lush, green canopies of dozens of live oaks provided shade over rows of seats. Blankets were spread on a shallow slope in the back while three boys sat on skateboards. As I walked around, I was offered water, a spare chair or a spot on a blanket. On a covered stage, the Acadiana Symphony Orchestra tuned their instruments. “Symphony Sunday in the Park,” the ASO’s outdoor pops concert, would start any moment, but to the left, concertgoers were buying last-minute meals from food trucks.
For a decade, the outdoor concert has been part of the ASO’s regular season in New Iberia. The Iberia Cultural Resources Association (ICRA) collaborates with the ASO to bring four annual concerts to the city. “I don’t think we would ever want to not have the symphony come four times a year, because they are such a wonderful group that offers first-class music experiences,” says Cathy Indest, president of the ICRA. “We feel that we have 12 March 2016
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a wonderful variety of types of music that the symphony plays for us.”
“Symphony Sunday in the Park” isn’t solely a concert. Near the stage, the Acadiana Symphony Conservatory staff oversees the instrument petting zoo. Before the concert and during intermission, concertgoers play xylophones or try their luck at the violins while Conservatory teachers give impromptu lessons.
Photo by Danielle Ducrest
And since 2013, a picnic decorating contest has spurred the creative natures of concert patrons. Last year, homemade lollipop ornaments, a human-sized board game made of colorful squares and painted cardboard cutouts of candy bars formed a Candyland-themed picnic. The 10-person group, coordinated by Lynette Fraser, handed out suckers to kids and led a game on the human-sized board. Their group took home the first-place prize in 2013 and again in 2015, a painting of their picnic area created by artist Paul Schexnayder. They had plans to reenter the contest this year.
In celebration of the concert’s 10th anniversary, the ICRA has a few treats in store. Some of the ICRA’s founders and founding board members will be honored at the concert, and others will be recognized at successive concerts during the 2016 to 2017 season. The picnickers will be entertained by a special pre-show of Frank Sinatra songs performed by Spencer Racca. Not only does Racca regularly perform the music, he also embodies Sinatra’s mannerisms, clothing and hair styles. The Rayne native’s goal seems to be to make his impersonation as genuine as possible. More surprises and special decorations will be unveiled at the event.
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Photo by Danielle Ducrest
The symphony concert promises foot-stomping presentations of movie and Broadway themes, “big band” songs dominated by the symphony’s brass section, light classics from Vienna and more musical offerings.
“Most of the time, when a composer writes music, he or she does it having a certain player, ensemble and/or acoustical venue in mind. That often determines the type of the composition, its instrumentation, style, etc. Rarely, composers write music that is primarily designed to be performed by orchestras outside,” says the ASO’s music director, Mariusz Smolij. “The Music Director must then determine which of the selections written for other and different spaces are doable in acoustically challenging circumstances of open venues.”
Spencer Racca will return to the stage to perform classic tunes with the symphony. The St. Edwards School Choir and recurring guest vocalist Francis LeBlanc will also lend their talents during the concert.
LeBlanc performed once before with the symphony in 2014 at “Sounds of the Season,” the ASO’s Christmas concert in New Iberia. His unique, baritone voice was wellreceived by the audience. “He does some spirituals that are just phenomenal,” says Indest. Smolij says this about collaborating with multiple guest artists: “With just one rehearsal prior to the concert, a lot of coordination and preparation is required, and one has to rehearse very efficiently.” He adds, “It is both challenge and fun.” Join the Acadiana Symphony Orchestra in celebrating this special 10-year concert anniversary on April 3, 3 p.m., at New Iberia City Park. In case of rain, “Symphony Sunday in the Park” will relocate to the Sugar Cane Festival Building. Please visit iberiacultural.com for more information. 14 March 2016
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Oneness in Design & Purpose
The Bahá’í House of Worship for North America, Wilmette, Illinois
Catherine Schoeffler Comeaux 16 March 2016
Overture Magazine
In the late 1800s in Iran, Bahá’u’lláh spoke his message of the oneness of religions, noting that they share a common divine Source. This message carried beyond the Middle East, eventually taking hold as a worldwide religion called the Bahá’í Faith, with temples on each continent as well as in two island nations. “When Bahá’ís build houses of worship, they are purposefully designed as symbols of the oneness of humanity — places for all people to commune with God, where people have their hearts and spirits elevated,” explains local Bahá’í Emilia J. Bellone. She describes the architecture: “Bahá’í houses of worship are considered to be Dawning Places of the Praise of God, each having consistent physical features: a central dome, nine sides with nine entrances, spaces for prayer and meditation and gardens. Each also has its own original, artistic expression of the Bahá’í principles.”
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The Mansion of Bahji in Acre, Israel, where Bahá’u’lláh lived at the end of his life
Danielle Ducrest, Overture’s assistant editor and a local Bahá’í, tells us of the significance of the number nine: “Nine is a holy number in the Bahá’í Faith. It’s the highest single digit number and represents completeness.” The original house of worship, built in present-day Turkmenistan, is no longer in existence, having been razed after sustaining irreparable damages in an earthquake. The others stand in the United States, Uganda, Australia, Germany, Panama, Samoa and India, with one under construction in Chile. Each reflect the guiding principal of the perfection of the number nine, along with their own unique architectural features as influenced by their varying locations and cultures. The number nine is found not only in Bahá’í architecture but also in its symbol of the ninepointed star and in the fixed number of members within each Local Spiritual Assembly (LSA), which as Ducrest tells us “are not clergy but serve as administrative bodies. They make decisions that affect the community including
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organizing events, deciding on the use of funds or settling disputes in matters pertaining to Bahá’í laws.”
illuminated from within during the night, which gives the sense of an ethereal Temple of Light and Unity. Inside the dome atop the building, there is a breathtaking rendering in In 1912, the founder of the religion’s son, ‘Abdu’lArabic of a Bahá’í symbol called the Greatest Name; the Bahá, laid the cornerstone of the Bahá’í House of Worship script translates as ‘O Thou Glory of Glories’ and appears for North America on the shores of Lake Michigan in to be made of pure light.” Surrounding the Wilmette House Wilmette, Illinois. Designed by French-Canadian architect of Worship are nine gardens where, as Bellone tells us, Louis Bourgeois (1856-1930), it called for intricate stone carvings to cover the exterior and interior of the dome. This “There is a lovely fountain of unique artistry at the center of each, which help create peaceful spaces and welcoming oases.” She sums up the effect the space has on visitors: “The most inspiring aspect of the House of Worship is that no one has to be told that they are in a truly sacred place on earth. It is palpable, and visitors of all ages often naturally fall into a deep hush and sense of calm when they enter. And when they leave, awe, deep relaxation and peace often shows on The Bahá’í House of Worship, New Delhi, India their faces.” included symbols of Native American traditions, the Star of David and the cross. Bourgeois describes the temple in both form and purpose: “There are combinations of mathematical lines, symbolizing those of the universe, and in their intricate merging of circle into circle, and circle within circle, we visualize the merging of all religions into one.”
Steven Wyandt, the secretary of the LSA of the Bahá’ís of Baton Rouge, was amongst the first visitors in the year of its dedication. “The doors on each side open wide all around to welcome all of humanity, people of all religions,” he reflects.
Had the Bahá’ís chosen to create the temple out of stone, it would still be under construction. Choosing instead cast concrete panels mounted on a steel superstructure, the edifice was completed and dedicated in 1953. Bellone, who has visited the Wilmette house of worship on several occasions, tells us: “The way concrete has been magically transformed into exquisite carvings and lace-like details inside and out, along with the majesty of the building’s proportions and profile in relation to the land near Lake Michigan, are exciting.” She goes on: “The Temple’s panels creatively utilize natural light during the day and are 18 March 2016
The Bahá’í community is diverse, with members living in both small and large cities worldwide. The nearest Bahá’í Center located in Baton Rouge, Louisiana is a repurposed Church of Christ, which the Bahá’ís have painted blue and white “for the spiritually calming quality of these colors, which we see used in the Bahá’í World Centre buildings near Mount Carmel in Israel,” explains Wyandt. Locally, Lafayette’s Bahá’ís meet in public spaces – parks and libraries – as well as in people’s homes. “We have Feasts every 19 days, holy day celebrations throughout the year and an annual 19-day fast,” explains Ducrest. “We have no clergy; instead, members of the community take turns hosting Feasts, holy day observances and other activities.” Whether gathering under the live oaks at Girard Park or on pilgrimage to one of the Bahá’í temples worldwide, Bahá’ís share a vision of unity, which has inspired a collection of architecturally and spiritually impressive temples across the globe. For a more in-depth history of Bahá’í architecture worldwide as well as information about the religion that has informed the art, visit bahai.org.
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Photo by Kevin Ste. Marie
Emily Brupbacher
20 March 2016
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You might think that after more than 50 years in the restaurant industry, Jack Ainsworth would be burned out. However, at age 73, Ainsworth remains enthusiastic and passionate as the owner of Cafe Bella in the Oil Center. Diners can find Ainsworth at his restaurant, chatting with customers and enjoying the conversation. Ainsworth’s history as a restaurateur has been one of good fortune, and he maintains a grateful attitude and a generous spirit, which are as much a part of Cafe Bella’s success as the menu or atmosphere. “Back in 1965, I had a desk job as a credit manager for a tire and rubber company, and I didn’t like it at all,” explains Ainsworth. He and a friend bought a Pizza Inn franchise. They made plans to open in Baton Rouge, but someone else had signed a contract for that area just 14 hours before. The company offered them a different Louisiana location, and Ainsworth has been in Lafayette ever since.
After opening four Pizza Inns, Ainsworth decided to retire in 1984. “For 10 years, Mickie and I traveled, mostly to Italy. The ideas for an Italian restaurant were a result of these travels. I opened Louisiana Pizza Kitchen in 1993.” Despite that restaurant’s fiercely loyal following, Ainsworth soon set his sights on a more upscale, Italian-dining experience and eventually opened Bella Figura.
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“I wanted to own a restaurant that had a real ‘wow factor.’ Business at Bella Figura was sensational; we opened immediately to high-volume dining hours. We were giving upscale service in a way no one else was at that time,” Ainsworth says.
After changing the Bella Figura location a few times, Ainsworth sold its third location to La Madeleine’s. “I’d always had my eye on owning a restaurant in the Oil Center and just never got around to it. A location opened up on Travis and Heymann, so I leased it and took to it like duck to water!” Cafe Bella in the Oil Center has become a local favorite over the years. “We have alfresco dining, and it’s like being in an Italian courtyard,” Ainsworth says. From its cheery yellow outdoor umbrellas to the beautiful mural in the dining room, Cafe Bella remains cozy and friendly while maintaining a certain old-world-Italian aesthetic. “My wife, Mickie, my sister, Larayn, and I have always done the interiors for my restaurants,” Ainsworth explains. “In our
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travels to Europe, we’ve spotted trends and things that make restaurants vibrant.” For Ainsworth, selecting an interior design is much more than deciding on a specific paint color — it’s hands-on and very personal. “Mickie painted a faux-marble finish on the four Venetian-style columns at our third Bella Figura location. And for Cafe Bella, she purchased a 15-foot mural to go on one of the walls after I decided there was too much red in the dining room. The problem was that the wall the mural needed to go on was 17 feet long. So instead of framing it, Mickie actually used acrylics to paint an extra foot of the mural on each side onto the wall itself. You’d never be able to tell that it’s not part of the original mural.” In addition to the authentic, Italian-café vibe, Ainsworth is also proud of Cafe Bella’s staff. “My core kitchen staff that has been with me 23 years — brothers Terry, Cornell and Nelson Harrison,” says Ainsworth. “They’ve been with me through all the location and restaurant changes, and I’m indebted to them for their loyalty.
Chef Terry has created a variety of dishes, including some of the finest Louisiana seafood you can eat, as well as traditional Italian.”
For Ainsworth and his chefs, the art of creating this truly unique cuisine comes from honoring the traditions of classic Italian cooking and adding in
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Discover the food, music & culture at the heart of Festival International de Louisiane. 22 March 2016
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The cuisine at Cafe Bella ranges from a lighter, café-style menu and décor for lunch to more upscale offerings for evenings. “We use the freshest of ingredients,” Ainsworth says. “The only thing we make in quantity is of daily soups. Everything else is made to order.” He adds, “We get our fish in whole and filet our own fish. We do an incredible Parmesan Salmon with crabmeat and lemon caper dill sauce. We also do all of the Italian favorites, like our Pasta Bolognese, consisting of beef, veal and pork meat in our house-made red sauce. Chef Terry makes an amazing Ossobucco, which we’ve been serving since 1998. It takes some very lengthy prep time, but it’s well worth the time and effort.” In addition to the spectacular food, Cafe Bella, like its forerunner Bella Figura, boasts an incredible wine service.
For Ainsworth, success in this business has been the result of hard work, a little luck and surrounding himself with good people. “I’ve been very lucky to have maintained the core staff for so long,” he says. “I get to serve the people of Lafayette, which might be the best eating-out town in the nation. These people have such an appreciation for good food. You simply cannot trick the Lafayette diner. My wife, Mickie, and I owe a lot to the people of the Acadiana community.” For more information on Cafe Bella, please visit cafebellalafayette.com.
Photo by Mike Bedgood
some Cajun flair. “All of my chefs are south Louisiana boys; there’s not an Italian in the house,” Ainsworth says. “[Our food] is Italian, but with some Cajun infusion. There’s lots of creativity and experimentation in the kitchen. For many years, we were just Italian, then we started easing in some Cajun ingredients and cooking style, so there is a focus on Cajun seasoning.”
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The Healing Power of the Arts:
Tune In
To Your Creative Needs by Caroline Helm, Licensed Clinical Social Worker
Photo by Denny Culbert
Imagine history with no Freddie Mercury, no Julia Child, no Frida Kahlo. It is safe to say that because of these artists, producers and makers, we benefit immensely; and without them, we would have been without their creations, and that would have been just too bad. Thus, who and what are we potentially missing because of YOUR lack of creative confidence? We are all born with an innate ability to create. Yep, I said it! Yes, even you, readers, who argue that you don’t have it, have it. As a mental health therapist, a performing artist/musician and a collaborator in several creative efforts, I have experienced and witnessed that not only do you have an ability to create, but you have a need to create, and if that need is not being met, you will feel a kind of emptiness which manifests as anxiety, low selfesteem, or a consuming but never satisfied sensation. These feelings will accompany excuses such as, “I don’t have time,” or, “I don’t have talent.” The question is not whether you are capable of creating; the question is: Will you put in the work? 24 March 2016
Mais, chère Caroline, “Why should I put in the work?! I’m tired. It’s too difficult. If I had started younger … I just want to relax!” I have never met a person who creates who says, “I wish I did not create.” But I have met plenty who feel regret for having failed to create. The creative process: —Increases self-esteem.
—Verbally or non-verbally communicates emotions such as love, pain and fear, etc. —Produces something that now exists from which others can benefit.
—Increases cerebral gray matter in your brain, which improves self-control and decision-making. Mais, chère Caroline, “How do I get started? What do you mean by work? What will that look like for me?” Practical work includes: —Taking a class/lesson.
—Talking to a friend who is already involved in your area of interest. —Seeking out information on the subject. —Practicing, practicing, practicing. —Learning from YouTube.
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Psychological work involves: —Changing your mindset about your creative beliefs. —Changing deeply ingrained habits.
—Exploring false messages you received in regards to creativity. —Learning to tolerate and welcome FAILURE. —Practicing patience.
Why is a homemade cake or card so meaningful? Why are tears shed by the creator and recipient upon the presentation of a beautiful poem? Why are we so excited to show a loved one what we have created? It is because a need is being met. I do not promise you that creating will be easy or the thing made will make you happy; in fact, new frustrations will arise from your efforts. But, I can assure you that you will feel more moments of accomplishment and higher self-esteem than of regret. Most importantly, you will create a life and a lineage of creative confidence for yourself and for those around you. One person growing in this way causes a beautiful domino effect in which everyone will benefit. Call a friend or creativity coach today to start talking about it. Sign up for that class or lesson you have been putting off. You are creative and have every right to pursue it. Don’t sell yourself or us, your community, short by ignoring your gifts and your need to share!
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Radio Acadie by Johanna B. Divine
26 March 2016
Overture Magazine
Inside Burke-Hawthorne Hall, big-band music floats out of one studio door, Cajun music from another. The familiar timbre of a newscaster’s voice stretches out from speakers down the hall, and hearty laughter rises from the communal kitchen. This is what KRVS sounds like on the inside. KRVS Radio Acadie, 88.7 FM, was founded in 1963 as a small student-run operation, housed not far from its current location on the campus of the University of Louisiana at Lafayette. More than five decades later, KRVS has become Acadiana’s premier public radio outlet, broadcasting almost 70 weekly programs in three languages (French, Spanish and English) with a terrestrial signal reaching 22 parishes across south Louisiana. Licensed by the Federal Communications Commission as a non-commercial, educational station, support for KRVS comes primarily from listeners, not advertisers. KRVS remains the only local affiliate of National Public Radio, and its popular local programs garner not only regional but international audiences via their free, online stream.
With a small and dedicated staff, the station has weathered hurricanes, political-sea changes and the ever-evolving role of radio in the lives of listeners. It’s been broadcasted live from Festivals Acadiens et Creoles for over 25 years and Festival International for almost 20, serving as an ambassador of Cajun and zydeco music to the world. Four key staff members have guided the station through hardship and success. They took time out to talk with Overture about the history and future of KRVS Radio Acadie. Overture Magazine (OM): How has KRVS programming changed over time? Cecil Doyle, Music Director (CD): One of the first things I remember hearing on KRVS was a live broadcast of Festivals Acadiens. I was at home recording it all on cassettes, just in awe of the fact that I could tape this uninterrupted,
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OM: So what has that transition been like? Going from a primarily classical station to one that has such an enormous diversity of local programming? Judith Meriwether, Development Director (JM): Our fundraising doubled the first year we brought in “World Café.” And I think it introduced a new audience to KRVS, one who was more interested in different music. It became much, much more eclectic … Really, we were being responsive to what people were hearing on the national scene. I would say KRVS has always been responsive to both national trends and the interests of our local audience … CD: The weekends have always been big at KRVS. We’d start out with blues, go to alternative and then at night, big band, and then, of course, zydeco … JM: Even Arbitron [now Nielson Audio, compiler of national radio ratings] wrote us a note at one point! Between the Cajun and the zydeco shows, KRVS garnered an enormous audience, and they saw that big jump in our ratings over the weekend and were really surprised. Those were the shows that really spoke to our rural population – our zydeco and Cajun audiences were always, and continue to be, a big part of our audience. CD: We were also mirroring the growth of triple-A [Adult Album Alternative] radio during that time. “World Café” sort of ushered that in, and a lot of other public radio stations started to feature more of that music. These were bands that 28 March 2016
weren’t getting played on top-40 stations, so all of a sudden, there was this huge influx of new music that needed an outlet. Since that time, KRVS has expanded to include all varieties of music – jazz, rock, classical, electronic, ambient, Japanese, reggae, Irish, bluegrass, world, blues, indie and, most importantly, local. We’ve had really obscure programs devoted to bands like The Grateful Dead and The Residents, totally experimental content like the show “Sounds Unusual,” and now a new brand of hybrid music-storytelling on programs like “Radio Lab” and “Snap Judgment.” Our content is constantly evolving. James Hebert, Operations Manager (JH): I think our central strength is the creativity of our producers and our largely local content. We have over 30 local producers creating more than two dozen programs … The resurgence of cultural traditions, especially French language, also sets KRVS apart. An incredible group of young people came through KRVS and have gone on to become musicians, teachers, historians … A lot of these people came full-circle in terms of their grandparents speaking the language, then learning the language themselves and using KRVS as a means to express their love of the language and continuation of that tradition. OM: Radio is new territory now, equal parts conglomeration and independent podcasts available free online, anytime. How has technology changed the way KRVS operates? Photo by MAKEMADE
commercial-free broadcast of one of the best festivals in the country. I became interested in the station and eventually started producing part-time here. I remember when [former KRVS Music Director] Lisa Richardson came to KRVS. She had such an expansive knowledge of classical music and world music, and she really pushed for more world and singersongwriter music. So we started having that kind of variety. Raoul [Breaux] did a jazz show in the mornings at that time. But once we got “World Café” [a nationally syndicated NPR program], we got such a positive response that it really altered what we did during the daytime hours. Basically, at that point, we were a largely classical station – from about noon on, we played classical music. It’s just been in the last decade that we’ve decided to take our local programming all the way into the afternoon, right up until the news at four o’clock.
JH: Thanks to changing technology, we have less turnover in producers, and the producers who are with us now have been here longer. Two great examples of that shift are producers Courtney Pitre and Heather Cole-Mullen. Courtney started producing bluegrass shows here while she was in college and continued while she went to pharmacy school. Even though she wasn’t physically in the studio at that point, she could upload her content and we could air it. Now she owns her own pharmacy in Arnaudville and continues to produce her show each week. Similarly, Heather Cole-Mullen started out producing an Irish show for KRVS here in Lafayette. Even after she moved to Ireland, she continues to produce her show, with the added benefit that she lives the heart of that culture and can include KRVS listeners in her experience. Without internet technology, we wouldn’t be able to offer the consistency and variety of programming that makes us who Overture Magazine
release, traditional music that rarely gets heard on commercial stations, and really great obscure bands, old and new, that just don’t get played often.
we are. JM: I think there are people looking for authentic, indigenous music from around the world, and they come to KRVS and find it. We are one of the few stations that offers a lot of local, original music and language, and that’s been a wonderful part of the KRVS journey – really an astonishing part of it – that people out there are searching for what we offer. So it’s those people along with people originally from this area who are so far-flung because of work or whatever who stay with KRVS as listeners. Karl Fontenot, Chief Engineer (KF): We hear almost every day from people around the world that KRVS is their lifeline back to their culture. That wouldn’t be possible without internet streaming through krvs.org. OM: What does the future hold for the station? What can listeners expect to hear on KRVS? CD: On the music front, I think we’ll continue to do what we can to support and provide an outlet for local and independent music – music from young groups that may not get an official
JH: In addition to music, we’re expanding our talk programming. Our Wednesday-night block [7 to 11 p.m.] grew out of listener interest in “This American Life” [a nationally syndicated program]. I think of that block as “brain food.” The popularity of those programs with a younger audience has created a very different conversation and ushered in a new kind of long-form journalism. It’s not news as much as it is radio documentary in a contemporary style. Overall, I think how people are listening to music will affect the station’s direction more than anything. We are now delivering content on multiple platforms – terrestrial, online streaming, on-demand podcasts – so listeners can hear our shows any time they want to. That’s the challenge – and the opportunity – moving forward: finding just the right mix of content along with the best intersections for an ever-growing audience to engage with and continue to support KRVS.
To listen to KRVS, tune your radio dial to 88.7 FM or listen online at krvs.org. To support KRVS, visit krvs.org or call 337-482-5787.
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Ann Dobie 30 March 2016
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Celebrating Celtic Culture in Acadiana Overture Magazine
Lafayette is widely known as the center of Cajun culture, but its colorful traditions, music and food grow even richer as different cultural backgrounds join the mix. The latest group to publically celebrate its heritage is Celtic, made up of those whose families are Irish or Irish-American or come from Scotland, Wales and Brittany, other branches of the Celtic tree. On March 11 to 12, the weekend before St. Patrick’s Day, the Louisiana Celtic Connection will sponsor the Celtic Bayou Festival celebrating all things related to that culture. To introduce Acadiana to authentic Irish traditions and find similarities with those of Cajun culture, events will include everything from music to food to art, all of it designed to please the entire family. The festival, which is the brainchild of Sheila Davoren and her Irish-born husband, Tony, will be a first for Acadiana. Sheila and Tony are popular entertainers, and the idea came to them when they
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traveled to perform at Celtic celebrations in other cities. Sheila teaches Irish dancing, and Tony has performed in many famous Irish venues and pubs. Since Acadiana is home to festivals paying tribute to everything from crawfish to sugar cane and frogs, they reasoned, why not host one that will pay respect to two cultures that are rich in history and tradition? The festivities, which will take place at Warehouse 535, will kick off on Friday night with a crawfish and Irish beer night. Along with the food and drink, there will be two bands and Irish dancers to provide entertainment. Irish drink specials will be available.
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March 2016 31
Photo by Sheila Davoren
Saturday morning begins with an Irish blessing and dispensation “for all those that need an exemption from the Lenten season.” From there, you can get your day underway with a visit to the Whiskey Snug — a snug being a small, private room with access to a bar. (It was particularly favored by patrons who preferred not to be seen drinking in a public place.) There you can enjoy traditional gourmet Irish coffees with choices of whiskey or Bailey’s Cream. Or, if you prefer, you can enjoy a Bloody Molly made with Irish whiskey instead of vodka. Later in the day, the Snug will host Irish whiskey tastings while J.P. Murphy, an Irish singer, takes requests for songs. Another good place to begin your visit to the festival is the Irish Culture Tent. There, you can consult members of the Lafayette Genealogical Society, who will share their knowledge and reference materials 32 March 2016
to help you begin the search for your family’s roots. Those whose backgrounds lie closer to home can attend talks by experts about the many similarities in Irish and Cajun culture. And if you are planning a trip to Ireland, Tony Davoren will be on hand to share his expertise in Irish history and folklore. Plenty of children’s activities will be available to please the younger set. The Tir na Nóg Tent, meaning Land of the Young, will have a dance stage for workshops to demonstrate American Step Dance, Scottish Highland Dancing, Irish Dancing and Contra Dance. An Irish storytelling show, to be presented by Lafayette’s Wanderlust Theatre Co., is sure to be a hit, and a puppet show will be narrated by an Irish folklore expert. Working with Irish crafts will produce Leprechaun Hats, Irish dancing fingers and shamrocks for children to take home with them. Games, including a pot o’ gold scavenger hunt, will go on throughout the Overture Magazine
Other attractions include the first-ever Guinness Cook-Off, which is certain to be a hit with Acadiana cooks, and an Irish music competition. The music will not stop there, however, as one of the goals of the festival planners is to provide a platform for Irish artists in Acadiana to showcase their talents along with performers from traditional Celtic bands from around the world. They will include, for example, the Máirtin de Cógain Project; the Whiskey Bay Rovers from Lafayette; and Celjun from Wicklow, Ireland and Baton Rouge. Other musical groups include The Sean Bruce Band and Farouche, both from Lafayette; the Red Wellies from North Carolina and Georgia; Beirt le Chéile from North Carolina; and Smithfield Fair from Baton Rouge. At this initial Celtic Bayou Festival, the Louisiana Celtic Connection hopes to “promote, preserve and expose the Celtic culture to Louisiana.” The diversity and quality of its presentations will be a
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Image by Kathy McInnis
day.
rich introduction to its language, traditions, music and more. Whatever events you choose to attend and whatever culture you hail from, you are sure to leave the festival with a deeper appreciation of the Celtic heritage. As Sheila Davoren says, “There is more to St. Patrick’s Day celebrations than just dying your beer green.” Learn more about the Celtic Bayou Festival by visiting celticbayoufest.com.
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How to Make
Cascarones for
Easter
by Emily Brupbacher
Cascarones, or confetti eggs, are a fun and festive addition to any celebration. Believed to have been used in Renaissanceera Italy as a courting ritual (men would fill empty chicken eggs with perfume, seal them with wax and then toss them at women they found attractive), cascarones eventually came to America via Mexico. It became custom during Mexican celebrations such as Cinco de Mayo and Dia de los Muertos for people to break a cascarone over one another’s heads for good luck.
as usual. You may need to shake the egg a bit for the yolk to come out of the smaller hole. Once the yolk is out, thoroughly rinse the eggshell and shake out any excess water. Let the eggshells dry.
Over recent years, cascarones have become a muchanticipated part of many families’ Easter celebrations. And because they are so easy to make and customize, kids and adults alike enjoy incorporating this age-old custom in their modern Easter traditions.
Step 3 — Fill the Eggs with Confetti: If you are making homemade confetti, this is a great time to let your kids get involved — let them tear or cut up construction paper until it’s confetti-like. Or simply purchase confetti at any party or craft store. Filling the eggs with confetti is a simple process but can get messy, so it’s best to do it over newspaper, a placemat or some other surface that is easy to clean.
To make cascarones, you will need the following items: empty eggshells, paper confetti (you can buy this at any party store or create your own by cutting up pieces of colored paper into very small pieces), tissue paper, an egg dyeing kit (or paint if you’d rather paint your eggs) and glue. Step 1 — Emptying the Eggshells: Don’t think that you have to waste dozens of eggs to make cascarones. You can save the empty eggshells of eggs you’ve cooked over the course of several weeks. The best way to empty eggs for cascarones is to punch a small hole in the top of the egg (you can do this by gently tapping the top of the egg against a bowl and then peeling away a small bit of shell) and let the egg drain out 34 March 2016
Step 2 — Dyeing or Painting Your Eggs: You can purchase an Easter egg dyeing kit at most grocery stores around Easter time. Simply dye the eggs according to the instructions. If you choose to paint the eggs, acrylic paint with a small brush works best for creating designs. Let the eggs dry.
Step 4 — Gluing the Hole Shut with Tissue Paper: First, you’ll need to cut the tissue paper into small squares. Make sure the square is big enough to fit over the hole. Then squirt glue along the outside rim of the hole. Carefully cover the hole with the tissue paper square and press down lightly to seal it with the glue. When cracking your cascarones, it’s best to crack them with the tissue paper facing down. And, of course, it’s best to crack these fun Easter eggs outside to avoid any mess in your house. Overture Magazine
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Hot Cross Buns Illegal Goods and Good Luck Charms A baked good may seem like an unlikely starting point for an exploration of the past, but the hot cross bun has a rich connection to history. The small buns are typically made of brioche or some sort of sweet dough studded with raisins or currants and topped with a cross made of icing, strips of dough or a simple knife imprint.
There are a couple of solid, historical facts surrounding the baked goods. In 1592, a bylaw was issued in London stating that the buns could only be sold publicly on Good Friday, on Christmas and for funerals. Anyone caught selling the buns outside of these occasions had his treats seized and distributed to the poor. The Oxford English Dictionary directs attention to the English collection called “Poor Robin’s Almanack” from 1733, which contains the line, “Good Friday comes this month, the old woman runs, with one or two a penny hot cross buns.”
Beyond these two documented instances, matters cascade wildly into speculation, tradition and superstition. The Christian associations with the buns are obvious. Being traditionally (or legally) sold on Good Friday, they served 36 March 2016
by John Guidry
as reminders of Christ’s death on the cross. Also, tradition held that if baked on Good Friday and hung in the kitchen, the buns would stay fresh for an entire year. The treats would also allegedly ward off evil spirits and ensure that all baked goods produced during the year would turn out perfectly. Further, strong friendship and luck was guaranteed if one shared the buns with others: “Half for you and half for me, between us good luck shall be.”
Other legends contend that the baked goods were actually Roman in origin. Sculptures of domestic life depict breads scored across the top, though it is speculated that this was simply for ease of breaking. Some believe early Christians adopted the method to act as a reminder of Christ’s cross. Still other legends claim that buns with crosses were served during a pagan spring festival honoring the old Germanic goddess, Eostre (after whom Easter is named). It does not matter which legend people choose to believe, as long as they bake and share some hot cross buns – on Good Friday, if they prefer – for the baked goods are delicious.
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March 2016 37
Nicole LeBlanc A Look at the
Designer of
by Emily Brupbacher • Photos by Theresa Zaunbrecher Nicole LeBlanc is one of those women who seems to have it all — a full family life, a fun and fulfilling career, and an array of interests that excite her creative side. In addition to the craziness of raising three children, she and her husband, Mark Falgout, own and run the Blue Moon Saloon and Guesthouse as well as Warehouse 535, the new concert and event venue that opened in August 2015. LeBlanc also makes time to pursue her creative interests, which in the past have included blogging and fashion design but now are focused on interior design, a talent she demonstrated when visioning how Warehouse 535 would look. LeBlanc and Falgout opened the Blue Moon Saloon and Guesthouse back in 2002. With its back-porch-style setting and a knack for showcasing some of the best local and international music, the Blue Moon soon became a local favorite. Seeking to fill the need for a larger venue for concerts and events, Falgout and LeBlanc opened up Warehouse 535 on 535 Garfield St., which combines rustic charm with a modern yet romantic warmth.
“For Warehouse 535, the process essentially started with lots of conversation between Mark and I,” LeBlanc explains. “We had to narrow down key elements that would convey a specific welcoming atmosphere. We knew we wanted to keep the soul of the building — the wood, the metal, anything we could repurpose. Spending a lot of time in the building itself was a big part of the process, too — letting it talk to us instead of forcing an esthetic that didn’t belong. The horseshoe bar was the first key element. The curved feature promoted a friendly space where you could see your fellow patrons. I then had the idea to commission original artwork and position it behind the bar — something visual that our guests could admire and interpret 38 March 2016
in their own way. Then everything grew organically from there. The finishes, the fixtures, the décor, etc. and how they would all tell the same story was my main focus. For months leading up to Warehouse 535’s opening, I’d hit estate sales as much as I could to find the perfect pieces. We really wanted to make it one-of-a-kind and non-generic.
After Before
It’s still a work in progress, but we’re really happy with how it all came out.”
The experience of designing Warehouse 535’s aesthetics deepened a love of creative design that LeBlanc had previously chased through fashion. A few years ago, she started a fashion line, Bayou Gauche, and her designer white blouses were featured at Kiki in River Ranch.
“I got into fashion design out of pure necessity — I was frustrated with clothes at the time and decided, well, I’ll just design what I want to wear,” LeBlanc says. “It was a huge learning curve. Going from an idea in your head to actually having your design hanging in the store, then have someone buy it and feel great in it? That complete circle was amazing to me.” Overture Magazine
And LeBlanc’s journey into design has continued. After designing Warehouse 535, LeBlanc felt pulled to the world of interior design. She is currently studying Interior Design at UL. “What I discovered about myself recently is that I love design,” LeBlanc says. “Whether you’re designing clothing or space, the process is very similar. Often times it’s the development of an idea that is the most interesting part. The final product is just the cherry on top. After renovating what is now Warehouse 535 with Mark, I realized how much I loved space design. It’s not just about choosing fixtures and furniture, it’s about standing in space and asking yourself, ‘Ok, how am I going to create an environment where people walk through the door and feel like they’re part of something fresh and cool and special?’ From the outside, Warehouse 535 looks like a typical warehouse — it evokes the feeling of your run-of-the-mill, metal building. But then you walk onto the back porch looking onto the train tracks, and from there, a feeling of nostalgia surfaces. Then you open the doors to something you did not expect. From the unique, star light fixtures over the horseshoe cypress bar to the cozy nooks that seem to always spark intimate and interesting conversations to the Perkins painting that hangs gallantly yet subtly in the background. Warehouse 535 is unique. I want people to feel like they’re walking into something special — an experience they will always remember.” To learn more about Warehouse 535, please visit facebook.com/warehouse535/.
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the ARTicle Parents Encouraging Creativity in Their Kids Denise Gallagher
When Oliver was very small, he’d fall asleep each night listening to Mozart. As he grew, he began asking about the music, the composers and about each instrument he heard. He was soon able to identify the instruments by sound. His favorite was the violin. When he was 3, his father and I brought him to his first symphony. Like any little boy, he wiggled and fidgeted in his seat. But when the music began, he was mesmerized. He dreamed of one day having his own violin and of learning to play.
40 March 2016
We attended many more musical events — symphonies, concerts, musicals and Cajun music sessions at the Acadiana Center for the Arts — in order to introduce Oliver to different types of music. As a family, we all began to learn more about different composers and pieces of music. Attending the symphony became our favorite family outing. At one point, Oliver was so enthralled with Prokofiev’s “Birth of Kijé” after a performance by the UL Symphony that he listened to a recording of it nearly nonstop for months. When he was 5, we were thrilled when he was
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chosen to attend J. Wallace James, the elementary school of choice for the arts. At J. Wallace James, he was exposed to many different art forms — visual, dance, drama and music. He enjoyed visual arts, but his heart belonged to the violin. So when he began fourth grade and it was time to choose a major, it was no surprise that he chose strings. After the first day of class, he came home beaming and played “Ode to Joy” from memory. And he had named his violin “Celia.” We decided that he would also benefit from individual lessons, so we enrolled him in the Acadiana Symphony Conservatory. His instructor, Emil Ivanov, very patiently helped Oliver pay close attention to the placement of his fingers, the proper use of his bow and correct pos-
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ture. These details made a big difference and helped Oliver to grow as a budding musician. During Oliver’s lessons, I took diligent notes on the things he needed to work on while practicing at home. It was amazing to me to see him take so easily to reading music — something so completely foreign to me. After practicing, he often experimented with sounds and composed songs. His father and I loved listening to him be creative in this way. Oliver’s first recital with the Acadiana Symphony Conservatory was in December. He was a little nervous — there were a few tears — but he was proud of his first performance. Afterward, he said to me, “The violin is just so beautiful!” And I could not agree more.
March 2016 41
Symphony Seauxcial
Heartstrings
February 14, 2016, Acadiana Center for the Arts Photos by Carolyn Brupbacher
On Valentine’s Day, the ASO held its annual “Heartstrings” concert, which has become a favorite Lafayette tradition. It is truly a unique experience to share with a loved one on Valentine’s Day … what could be more romantic than a beautiful violinist performing while you enjoy a delicious gourmet meal paired with wine? Maestro Circle and dinner patrons enjoyed a special treat from De Gaulle Square Bistro, with appetizers served during the reception and a full entrée and dessert served during the concert. Kinga Augustyn, critically acclaimed concert violinist, delighted the audience with Pablo de Sarasate’s “Carmen,” which was written for violinist virtuosos to demonstrate their full range. Indeed, it was a romantic evening enjoyed by all!
42 March 2016
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Standing Ovation
Overture magazine would like to thank the advertisers who purchased ads with us in support of the Acadiana Symphony Orchestra & Conservatory of Music’s mission. As a non-profit organization, ASO&C relies on multiple revenue sources including donations, sponsorships, ticket sales, registration, advertising, in-kind contributions and estate gifts. Advertisers in Overture are not only getting the word out about their business to a specific audience, but they also are supporting the arts in Acadiana by choosing Overture magazine as a vehicle for advertising. Acadian Ear, Nose, Throat & Facial Plastic Surgery Center Ahrens Investment Partners Andy’s Jewelry Antoni’s Italian Cafe Artisan Jewelers Bare Wood Furniture Center Bevo’s of Lafayette The Big Easel Bonjour Boy Scouts of America Brick Zone Brother’s on the Blvd. Cafe Bella Carolyn Groner, Keller Williams, Realtor Cedar Deli Charley G’s Chorale Acadienne Clothing Loft Coco Eros Boutique Cornerstone Financial Group, Inc. Courtesy Automotive Group Courtesy Lincoln Darrell Henderson Debbie Horaist, Van Eaton & Romero, Realtor Decorating Den Interiors/Cheryl Scurlock Design by Todd Diane’s Merle Norman Dianna Rae Jewelry Dunn’s Furniture & Interiors Edible Arrangements Elena’s Boutique Epiphany Day School Episcopal School of Acadiana Erin Gesser Fireworks Warehouse The French, Reyes, Huber Investment Group/UBS Financial Services, Inc. Gregory Davis The Grouse Room Hershey’s Ice Cream Featuring Great American Cookies Iberia Bank Indulge 44 March 2016
Jewelie’s Boutique Jody’s of Lafayette, Inc. Karrie Blanco Kathleen Hidalgo Kathy Welch, Van Eaton & Romero, Realtor Kim Spence Kimberly’s Interiors Knight Oil Tools Krewe des Chiens Lafayette Ballet Theatre Lafayette Convention & Visitors Commission Lee Michael’s Fine Jewelry Le Jour Couture Lemon Drop Little Town Louisiana Furniture Gallery Mark Staton Co. Melodi’s Belles & Beaus. Inc. Mignon Faget Moseley & Hollard Men’s Clothing Moss Motors Park Lane Partners’ Ltd. Paul’s Fine Jewelry Phillip Brupbacher, Coldwell Banker Commercial Pelican Real Estate, Commercial Agent Pieces of Eight Posh Exclusive Interiors Prime Title Raffaele Furs/Dolci Modi Clothier Rodrigue Studios Samir Oriental Rugs Schools of the Sacred Heart Social Southern Table & Bar Teresa Hamilton & Team, Van Eaton & Romero, Realtor Thomas H. Foard and Robert C. Foard, Morgan Stanley Tsunami UL Press Valcour Records Van Eaton & Romero Water Oak Farms Overture Magazine
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Community Seauxcial
Krewe de Bayou’s VooDoo Masquerade Mardi Gras Ball January 29, 2016, The Petroleum Club of Lafayette’s La Marquise Ballroom
Photos Courtesy of Townsquare Media
Townsquare Media outdid themselves at the People’s Ball by Krewe de Bayou. This year’s VooDoo Masquerade Ball was a huge success with hundreds of people in attendance dressed incognito; in VooDoo theme; or in true, formal ball attire. ASO&C Executive Director Jenny Krueger and Republic National Distributing Company Vice President Dwight Prudhomme reined this year as Queen Marie Laveau and King Samedi. The queen was adorned with a priestess-feathered headdress and perfectly matched makeup. Her costume was complete with a dramatic, skull-head staff and a snake wrapped around her body. After the royalty addressed the crowd, Bucktown All-Stars entertained ‘til the morning hour! It was a night to remember for all!
46 March 2016
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