Country Roads May Digital Edition

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Contents

MAY 2020

Events

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VIRTUAL VENTURES

Tour the Old Governor's Mansion, NOMA, mid-19th century Seville & beyond.

6 8

REFLECTIONS

by James Fox-Smith

NEWS & NOTEWORTHIES

VO LU M E 37 // I SS U E 0 5

Features

16 21

23

An ode to the crawfish farmers

by Lauren Heffker

In one corner of a raging world, beast and man find common ground.

by Jordan LaHaye

Jordan LaHaye

Arts & Entertainment Editor

Christina Leo

Creative Director

Kourtney Zimmerman

A DAY IN THE (LOCKDOWN) LIFE Three NOLA personalities on what life looks like from home—selfies included

Contributors:

Paul Kieu, Ruth Laney, C.C. Lockwood, Jenn Ocken

Cover Artist

by Christina Leo

Paul Kieu

Advertising

SALES@COUNTRYROADSMAG.COM

In a normal year, our May issue serves as an opportunity to celebrate the beauty of all things hyper-local. As a magazine, Country Roads' identity is so deeply entrenched in this place we call home. Of course, 2020 has been anything but normal. But the importance of place reigns true, perhaps more than ever. As we endure the challenges of this strange spring together, but apart, we are—in so many ways—more connected than before. This issue—with stories of quiet home-bound pursuits, of memories of summers past, of food that brings us comfort and roadway adventures that inspire—simultaneously serves as a record of this bewildering moment in time and as an ode to our place and the people who make it. On page 16, Lauren Heffker and Paul Kieu's ode to crawfish farmers this 2020 season perhaps distills it best—our beloved, collective culture is struggling right now. But it is still beloved, and it is still ours.

Cuisine

Culture

Escapes

26

30

32

by Christina Leo

Associate Publisher

Managing Editor

EQUUS

EMBRACING YOUR PLACE

How Baton Rouge restaurateurs are coping—and eating— during quarantine

James Fox-Smith Ashley Fox-Smith

On the Cover

COMFORT FOOD

Publisher

HEIGHT OF THE SEASON

THE OLD ACADIAN CLUB Remembering days of boogie-woogieing with Ray Charles, learning to drive, and synchronized swimming

by Ruth Laney

ROADTRIP TO NOWHERE

The art of destinationless journeying across Louisiana's byways

by Jordan LaHaye

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PERSPECTIVES Kewon Hunter: Things worth keeping, forever

Sales Team

Heather Gammill & Heather Gibbons

Custom Content Coordinator

Lauren Heffker

Advertising Coordinator

Baylee Zeringue

President

Dorcas Woods Brown

Country Roads Magazine 758 Saint Charles Street Baton Rouge, LA 70802 Phone (225) 343-3714 Fax (815) 550-2272 EDITORIAL@COUNTRYROADSMAG.COM WWW.COUNTRYROADSMAG.COM

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Copyrighted. All rights reserved. No portion of this publication may be reproduced without permission of the publisher. The opinions expressed in Country Roads magazine are those of the authors or columnists and do not necessarily reflect the views of the publisher, nor do they constitute an endorsement of products or services herein. Country Roads magazine retains the right to refuse any advertisement.

Country Roads cannot be responsible for delays in subscription deliveries due to U.S. Post Office handling of third-class mail.

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Reflections FROM THE PUBLISHER

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ike lots of other ambitious cooks stuck at home for six weeks, I’ve spent a lot of time trying to bake a decent loaf of sourdough bread recently.

Clearly, I’m not alone. If you spend any time on social media you’ll have already noticed this. The Internet is awash with photos of unkempt, flour-covered home bakers beaming and showing off armloads of golden sourdough bread loaves. Why is it sourdough, of all things, that has captured the attention of home cooks everywhere at this historically weird time? After all, an ancient staple consisting of nothing other than flour, salt, and water, ought to be the simplest and least interesting thing to make, right?

Wrong. Sourdough bread is the finickiest, most frustratingly wonderful foodstuff to get consistently right that I’ve ever attempted. But gotten right it’s also the most delicious—simultaneously crunchy and chewy; light and filling; delicate and hearty. Every good loaf is the result of a quiet alchemic miracle—a complex pushme-pull-you between warring factions of wild yeasts and lactic-acid-producing bacilli which, if General Baker leads his

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troops right, will inflate the sticky, lifeless blob of goo on your kitchen counter into a sturdy loaf that emerges golden-brown and gorgeous for forty minutes in the oven. When this happens it’s magical.

And it’s why the online bakers look so pleased with themselves: because what they don’t post photos of are all the flat, lifeless, stodgy quagmires of failed bread that precede the sudden emergence of a successful batch for no apparent reason!

I am familiar with these quagmires, and call on the amateur bakers of Facebook to either stop showing off and come clean about their success rates, or to reveal their secrets. Apparently this is not something you can learn by watching YouTube videos.

As noted last month in this column, while laying in supplies for pandemic quarantine my mother-in-law discovered not one but two vacuum-sealed, fiftypound tubs of whole wheatberries, which she had purchased in a Y2K frenzy during the runup to the turn of the millennium, then forgotten about.

So I reasoned, with one hundred pounds of wheatberries to grind and time on my hands, what better to do than set about

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learning to master the holy grail of bread baking? This, ultimately, provides the answer to the question, “why is everyone baking sourdough now?” Because getting it right requires lots and lots of time.

Lots of us are learning how much longer a day can be when we aren’t even required to get dressed for work, let alone to commute, or attend parties, meetings, business functions, and kids’ sporting events. Time is suddenly available to try all kinds of projects we never believed possible. This counts particularly for projects in which success involves multiple episodes of failure along the way. We’re doing hard, time-consuming things like gardening, woodworking,

brewing beer, learning musical instruments. We’re discovering—or rediscovering—all the analogue, handson, deeply satisfying skills that our digital native selves forgot about during the past generation or two, when failure became the luxury that none of us could afford. Baking bread belongs in this grouping—not only for the sustenance it affords both body and spirit, but also because it quickly reminds you how even the simplest-looking things can be simultaneously difficult and deeply satisfying; and how even failure is always a matter of degree. “Oh look, another pancake!” observes Mathilde tartly while inspecting my latest effort, which once again has partially deflated during the crucial counter to oven transfer. That doesn’t stop her from reaching for the breadknife and the butter dish though, because crusty and hot from the oven, the results are so delicious, I wonder whether I should just start pretending I meant for my "loaves" to turn out the shape of frisbees, and start a cottage baking business called “The Accidental Flatbread Company.” Maybe, because if there’s one thing this experience has revealed, it’s that whatever the recipe, time might just be the most precious ingredient of all.

—James Fox-Smith, publisher

A Special Advertising Feature from Our Lady of the Lake

Make It Fun

Get moving at home to raise your Health Esteem As a certified fitness trainer with over 20 years of experience, Adrian Brumfield has learned a thing or two about making habits stick.

Brumfield, a health educator with Our Lady of the Lake Regional Medical Center, normally spends his days within Baton Rouge’s public schools teaching students how to adopt healthy habits as part of the Healthy BR Initiative. During this “new normal,” however, Brumfield has taken his coaching skills to the screen, keeping families active while staying at home.

Every day at 2 p.m. Brumfield livestreams a physical activity class for patients at Our Lady of the Lake Children’s Hospital. Members of the public can also find him leading fitness videos on the Health Esteem social channels or teaching cardio kickboxing classes on his “Training with Adrian B” Facebook page twice a week.

The key to building consistency with physical activity is making it fun, Brumfield says. “If you’re having fun you’re going to do it more often and stick with it, and consistency is how change happens.”

For instance, when Brumfield noticed his two teenage sons shared an interest in basketball, he invested in a goal so they could play at home. Now, instead of finding his kids playing video games, he’ll catch them outside shooting hoops.

“I always teach from a positive standpoint because if I tell you that you aren’t allowed to do something, you’re going to do it,” he says with a chuckle. “It’s not about what you can’t have, it’s about adding more water, adding more fruits and vegetables, adding physical activity at your pace.”

Brumfield believes small changes can have a big impact. He doesn’t use the term “exercise” because of its negative connotation; instead, he says “physical activity.” Brumfield encourages his class participants to make the class into an event by clearing a designated space at home, putting on a favorite t-shirt, and taking “sweaty selfies.” By fostering community, physical activity becomes something to look forward to, rather than an obligation.

Brumfield even started a public Facebook group for followers of his page to engage with one another, motivate one another, and welcome new members. Within a month, the group has grown to 500-plus members and counting.

“I always say don’t think about what you can’t do, think about what you can do.”

LEARN Go to healthesteem.org for more fun ways to stay active at home.

MOVE Follow “Training with Adrian B.” on Facebook for more of Brumfield’s fitness expertise.

Staying active is part of Adrian Brumfield’s Health Esteem.

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Noteworthy

M A Y 2 02 0

N E W S , T I M E LY F A C T S , A N D O T H E R

Look for the Helpers

CREATIVE COMMUNITY-CENTERED CAUSES TO GET BEHIND DURING THESE STRANGE TIMES

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t press time, it’s been almost six weeks since our collective worlds were totally upended by the onslaught of COVID-19. So suddenly torn from each other, our individual existences—in the blink of an eye— became so much more individual, more distinct, more separate.

But at the very same time, over the course of the past month and a half, an entirely new culture of connection has emerged. Utilizing the unprecedented access to each other that our digital age allows, the waves of creative collaboration have not missed a beat. Our communities have

risen up in various ways to address the overwhelming challenges this disease has brought into our home. Hyperlocal initiatives have sprung up in big cities and tiny towns alike as groups work together to support our healthcare workers, our small businesses, our artists, and our neighbors most deeply impacted by the pandemic.

Visitors’ Bureaus like MonroeWestmonroe’s (monroe-westmonroe. org), Iberia Parish’s (iberiatravel. com/blog), St. Martin Parish's (cajuncountry.org), and Downtown Lafayette’s (downtownlafayette. org) have re-tooled their websites to serve as resources offering listings

LO O K C LO S E R

CURIOSITIES

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of virtual experiences, restaurants offering curbside pickup, online shopping options for local shops, and resources for medical personnel and other essential workers. Some local organizations like St. Francisville Main Street & Merchants Association have worked to create altogether new resources like St. Francisville Strong (stfrancisvillestrong.com), a website serving as a one-stop shop from which to buy gift certificates from participating businesses. Efforts like Keep BR Serving (keepbrserving.com) and Social Entertainment’s Lost My Tips Fund focused on employees of restaurants, bars, and venues who are currently out of work. Countless organizations have stepped up and even joined together to source free meals for healthcare professionals and first responders. Just to name a few initiatives that also enlist the work of local restaurants to achieve this: Entergy’s “Fueling the Fight” BRAF fund (classy.org/campaign/ fueling-the-fight), Port Orleans Brewing United, and BR Answer the Call—not to mention our longstanding food banks like Second Harvest (nohunger.org) and Greater Baton Rouge Food Bank (brfoodbank.org) which

have been working triple time to meet the needs of our struggling communities.

And in NOLA, the epicenter of Louisiana’s outbreak, the city set up the comprehensive resource NOLA Ready (ready.nola.gov), which offers extensive information on COVID-19 stats, symptoms, prevention strategies, and an hourly Assistance Calendar which includes everything from drive thru testing sites to Zoom Yoga classes to free food distribution from organizations like Culture Aid and No Kid Hungry Louisiana.

As the causes multiply, so do the efforts. Louisiana has always been collaborative, and has always been resilient. By working together, even when we are apart, we’ll make it to the end of this. And we’ll be together again soon.

—Jordan LaHaye

Read about how individual artists and businesses are contributing to relief efforts in our "A Day in the (Lockdown) Life feature on page 23 and in our Cuisine section on page 26.

God Bless the Cook MEET OUR 2020 SMALL TOWN CHEFS NOMINEES

F

Country Roads' 2020 Small Town Chefs Nominees

or the past six years, we at Country Roads have had the humbling opportunity to dive into the unique and marvelous small town cultures of our region and to celebrate their best kept secrets: their chefs. Every year, we are surprised, delighted, and besotted by the dishes our Small Town Chef finalists create, and are honored to share their genius with our readers through these pages and through our annual Small Town Chefs dinner.

This year, as we navigate the challenges of selecting finalists amidst social distancing restrictions and as we anticipate the possibility of having to reschedule our July dinner, our staff is currently brainstorming innovative and

interactive "Small Town Chefs" programming that will both celebrate the vital work of our culinary experts in small towns and offer you a chance to try their dishes.

In the meantime, though, we'd like to take the opportunity to recognize all twenty four of our 2020 nominees—all chefs who have made a resounding impact in their communities— and all chefs who, more than ever, deserve to be celebrated for the work they do. Over the course of the next few weeks, keep watch on our social media platforms and website as we introduce our nominees and highlight the work of these people who feed us, and who feed us so very well.

—Jordan LaHaye

Lance Baker of Pot & Paddle Jambalaya Kitchen • Troy Bijeaux of Café Josephine • Esther Carpenter of The Elms • Paolo Cenni of Paolo's • Regina Charboneau of Regina's Kitchen • Calvelene Courville of Cajun Restaurant • Michael Dardenne of the St. Francisville Inn • Donna Ewing of Mamama's Kitchen • Jay Gielow of Café Evangeline • Jon Gimber & Alex Robertson of Miss Kay's Sweets & Eats • Lauren Guidroz & Major Morel & of Morel's Kitchen• Jude Huval of Pat's Fisherman's Wharf • Johnnie Landry of Crawfish Town USA • Angela Lasyone of Lasyone's Meat Pie Restaurant • Victoria Loomis, "The Gatherin' Girl" • Jodi Martin of Geaux Fresh • Jeff Mattia of Pyre Provisions • Joey Najolia of Café Lynn • Chef Oui of Aki • Alex Perry of Vestige • John Reason • Matias Rojo of Nola Mia Food Truck • Nathaniel Winters of The Lookout 8

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Time for Tiny Poems

LAST MONTH WE ASKED YOU/FOR A HAIKU, MAYBE TWO/ THANK YOU FOR THESE WORDS

T

he muses have spoken! At the end of March, we asked our readers to send us haikus written in the midst of the COVID-19 stayat-home order. As many of you noted in your emails, this small inclination to enjoy a bit of thoughtful entertainment turned out to be a perfect salve for our stressed-out senses. Take a look at some of our favorites (from Florida to Croatia, no less!) below.

—Christina Leo Exhilarating Even fresh air is suspect, Each delicious gulp.

—Lyn Markey

with masks and gloves. we resemble each other like two drops of water —Vasile Moldovan

standing apart— fresh blossom embraces closely its petals —Pravat Kumar Padhy

Daylight breaks, a gloomy day?

Oops—dropped my last egg— Sunny side up—I'll take it!

—Marsha Engelbrecht

We rush and rush Now we must pause and learn Never to rush again.

—Susan Walsh

Silent classroom board Still shows the last day, just like When Katrina roared.

—Rachele Smith

silent streets past years' murmur from a photo album page ­­ —Judit Hollos

Seek your truth within, for there are hidden treasures where a good thing ends.

—Javier Mota

One tiny powder wingtip Fluttering echoes Beauty emerges softly.

—Tamara Marr

Babe arrives, a gift To slow the chaos of a World hungry for spring —Joyce Hunt

during pandemic my father's thoughts circle around the orchard —Goran Gatalica

bathed in a light beam mighty snuggle turns to snooze the wild angel rests —Meredith Mahoney

Photo by Noemi Macavei.

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Events

M A Y 2 02 0

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ST A Y- A T- H O M E O R D E R

FROM YOUR

DOESN’T MEAN

COUCH, MAY STILL SINGS

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THE

SPRING TIDINGS

STAY-BORED ORDER: FROM VIRTUAL STAR SONGS OF SPRING.

SHOWS

TO OPERA

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Being stuck under a roof all day makes it easy to forget that a whole universe swings low overhead. This month, the Louisiana Art & Science Museum has geared up its virtual programming to include a library of at-home art and science activities, educational videos, Thursdays’ “We Need Our Space: LIVE” planetarium shows, and more. See page 14. Photo by Loris Raselli.

UNTIL MAY

23rd

HISTORY OLD GOVERNOR’S MANSION VIRTUAL TOUR Statewide, Louisiana

In response to COVID-19, Preserve Louisiana at the Old Governor’s Mansion has made its virtual tour accessible to the public. Each week, the tour will be updated with features on the families who lived here, items from the collection, and intriguing Louisiana lagniappe.

Following the purchase of your ticket, please forward your confirmation email to Christina Lake at christina@preservelouisiana.org, and she will respond with your access code. $5 admission. bontempstix.com. k

UNTIL MAY

31st

MUSIC KIDS’ ORCHESTRA AT HOME Statewide, Louisiana

Children need a creative outlet and a sense of normalcy in an uncertain and rapidly changing environment like the COVID-19 pandemic, and Kids’ Orchestra believes that music is one of the most important outlets available.

To keep music alive while students

and families are staying at home, KO has developed a new virtual learning program called KO@Home. Available on KO’s website, the program features weekly mini-lessons from KO Teaching Artists on musical topics such as instrument care and how to prepare for a concert, a series of instrument care and handling guides, and a curated list of music resources for families to access together anytime. KO@Home’s weekly mini-lessons can be accessed by families that KO serves, while all other resources are publicly available on the KO@Home webpage, which is updated regularly. For more information, visit kidsorchestra.org/koathome. k

fine art available for purchase is from all six years of the Shadows-on-the-Teche Plein Air Competition. After this year’s cancellation due to COVID-19, current and former juried artists worked with The Shadows to launch this one-of-a-kind event. This online sale allows people the opportunity to view phenomenal artwork from talented artists and add a little piece of our beautiful Acadiana region to their home. biddingforgood.com. k

UNTIL MAY

31st

ARTS ONLINE GORDON PARKS AND “HARLEM GANG LEADER” ONLINE EXHIBITION AT NOMA Statewide, Louisiana

UNTIL MAY

31st

VISUAL ARTS THE SHADOWS PLEIN AIR VIRTUAL FINE ART SALE: THROUGH THE YEARS Statewide, Louisiana

The Shadows Plein Air Fine Art Sale: Through the Years is now open online, running until May 31, with proceeds going to the Shadows-on-the-Teche in order to support art education and preservation of this historic site. The

In 1948, Gordon Parks became the first black photographer to be hired by Life magazine. His first photographic essay, “Harlem Gang Leader” appeared in the November 1st issue. For the project, Parks gained the trust of one particular gang and their leader, Leonard “Red” Jackson, and spent six weeks producing a series of pictures of them that are artful, emotive, poignant, touching, and sometimes shocking. From the hundreds of negatives Parks produced, the editors at Life selected

only twenty-one pictures to reproduce in the magazine, often cropping or enhancing details in the pictures. This exhibition at the New Orleans Museum of Art, viewable online due to the COVID-19 crisis, traces what was selected, what was left out, and how the story might be different had other choices been made. It begins with reproductions of the original Life magazine article from 1948. artsandculture.google. com/exhibit/gR1Ft4si. A full range of online art shows, videos, and more can be found at noma.org. k

UNTIL MAY

31st

MUSIC OPÉRA LOUISIANE’S SOFA SERIES Statewide, Louisiana

Since entering our mandated lockdown, institutions like the Metropolitan Opera have been offering Americans the opportunity to see and enjoy past productions online. Now, Baton Rouge’s Opéra Louisiane will bring music and songs directly to your home. Every week, accept the invitation to watch one of Opéra Louisiane’s previous productions online free of charge. These productions, called the “Sofa Series”, include audience // M A Y 2 0

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Events

Beginning May 1st

favorites from years’ past, with outstanding operas such as Carmen, Falstaff, H. M. S. Pinafore, and The Elixir of Love, all in full length. In each production, Opéra Louisiane Artistic Director Michael Borowitz conducts a cast of world-class singers and a professional orchestra along with the fine assistance of violinist and concertmaster Kelly Smith Toney. To view videos and receive updates, subscribe to the company’s YouTube channel and visit facebook.com/OperaLouisianeBR. k

UNTIL JUN

28th

ARTS ONLINE ART FLOW 2020 ONLINE EXHIBITION Statewide, Louisiana

In conjunction with the Ebb & Flow Festival Season this spring, the Arts Council of Greater Baton Rouge and Forum 225 present Art Flow 2020, Louisiana’s premier artist showcase competition, now moved online until June 28 as a virtual exhibition. For this year’s show, more than 338 works of art were submitted from over one hundred Louisiana artists. Of these submissions,

forty eight works (painting, drawing, ceramics, photography, sculpture, and printmaking) were accepted by the Art Flow jury as part of the exhibition. The public is encouraged to visit the Digital Gallery, check out the Gallery Guide and 3-D Virtual Tours, and vote on the People’s Choice Award at ebbandflowbr.org. k

UNTIL NOV

21st

BUY LOCAL BOSSIER CITY DRIVE-THRU FARMERS’ MARKET Bossier City, Louisiana

The Bossier City Farmers Market is making its 2020 return with its firstever drive-thru market every Saturday, beginning April 25 through November 21 in the Pierre Bossier Mall parking lot. Amid the COVID-19 mandates, the market will continue to offer garden vegetables, fresh meats, homemade goods, and more, all while practicing social distance guidelines. Traffic will flow through two drive-thru lanes, allowing customers to shop from the seat of their car. Each lane follows a loop that passes every vendor, and customers are allowed to drive through these lanes an unlimited

Originally set to display at the New Orleans Museum of Art, the photographic essay “Harlem Gang Leader,” by Gordon Parks, the first black photographer to be hired by Life magazine, can be viewed in an online exhibition. Photo courtesy of The Gordon Parks Foundation. See page 11.

amount of times. 9 am–1 pm. For more information, visit the Bossier City Farmers’ Market Facebook page, or visit their website at bossiercityfarmersmarket.com. k

MAY 1st - MAY 29th LIVE MUSIC FRIDAY NIGHT VIBES MUSIC SERIES Statewide, Louisiana

Louisiana’s favorite four-mallet jazz vibraphonist Dr. Charles Brooks is

bringing weekly live music entertainment to the masses with his free Friday Night Vibes music series. Each Friday night at 8 pm, Brooks will stream a one-hour concert on Facebook and Periscope live from his music dojo in Central. In an atmosphere full of southern ambiance, Brooks offers more than just music to listeners; he brings physical visual entertainment as well by showcasing the innovative, multi-mallet improvisational vibraphone techniques for which he

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is known. Set lists include but are not limited to Charles Brooks originals, popular jazz classics and standards like “What A Wonderful World,” “Bye Bye Blackbird,” “Girl from Impanema,” and “In A Sentimental Mood,” as well as vibraphonic interpretations of popular classic rock, blues, and funk tunes.

Previous shows have included tributes to Lynyrd Skynyrd, Pink Floyd, The Beatles, Jimi Hendrix, Alice in Chains, and Prince, to name a few. Shows stream live on Facebook @thecharlesbrooksmusic and on Periscope.tv @theCBDMA. Previous Friday Night Vibes shows can be found online at TheCharlesBrooks.com/music under Live Performances. 8 pm. k

MAY 1st - MAY 30th

KIDSTUFF WETLAND WEDNESDAYS WITH 4-H YOUTH WETLANDS PROGRAM Statewide, Louisiana

Louisiana is home to some of the nation’s most productive wetlands. To get students educated on their importance, the LSU AgCenter Youth Wetlands Program has launched several digital education initiatives, including Wetland Wednesdays, a series of educational activities that can be conducted in any size wetland, including ponds, small ditches and bayous, or a conservation activity with a wetland component.

The program at large is creating content encouraging activities that can be done at home while students across the state shelter in place. Wetland Wednesdays can be found on the Youth Wetland Program Instagram and Facebook pages, said Catherine Fox, an extension associate with wetlands responsibilities.

4-H intends to run Wetland Wednesdays through the end of May. For more information, visit lsuagcenter.com/topics/ kids_teens/projects/ywp. k

MAY 1st - MAY 31st

DANCE VIRTUAL PRIVATE TRAINING WITH OF MOVING COLORS Statewide, Louisiana

Know a young dancer missing the the atmosphere of traditional dance classes?

Of Moving Colors Productions is now offering private training via Zoom for dancers and non-dancers alike. Sessions are custom-tailored to your physical needs within each trainer’s area of expertise.

This way, you can spend quarantine taking advantage of working with athletes who have an incredible sense of body awareness paired with enthusiasm to see you discover a successful regime that leads you forward to meeting your goals. Sessions last for fifty-five minutes each, but can also be designed to meet your personal needs regarding length.

Due to COVID-19, OMC is offering privates at a discounted rate of $60 an hour. Email tellus@ofmovingcolors.org to ask questions or learn more about availability, and meet the instructors at ofmovingcolors.org/personal-training. k

MAY 1st - MAY 31st

SCIENCE LASM VIRTUAL CONTENT Statewide, Louisiana

The Louisiana Art & Science Museum hasn’t shuttered its doors—well, not when it comes to distance learning. LASM has released a new virtual platform for the Museum which contains a library of athome art and science activities, including videos produced by the Museum, hands-on activities, and blog posts.

Organized by grade level and designed to provide entertaining and educational experiences to multigenerational audiences, there’s something for everyone to be found online. Don’t forget that every Thursday at noon and 7 pm, LASM hosts “We Need Our Space: LIVE,” presented by the Irene W. Pennington Planetarium. Livestreamed via YouTube Live, Facebook Live, and Instagram Live (simultaneously!), and narrated

by Planetarium Producer & Technical Manager Jay Lamm, the program transports you to outer space and covers a different out-of-this-world topic each week. Previous topics include the wonders of the outer planets and the inner planets of our solar system. Recordings are available the week following the live presentation. Access the program on LASM’s website at virtual-lasm.org/live. See the totality of LASM’s virtual programs at virtual-lasm.org. k

MAY 1st - JUN 12th

ARTS ONLINE ABSTRACT SYMMETRY: WORKS

BY CIERRA ENGLISH Statewide, Louisiana

Abstract Symmetry is a solo exhibition of eighteen original works by emerging Baton Rouge artist Cierra English, originally set to display in The Healthcare Gallery. Now, courtesy of Ellemnop.Art, art-lovers have the chance to view one of the first 3D art exhibitions from the capital area, allowing for the most realistic view of the art possible during these isolating times, almost as if you were physically inside of an art gallery. All pieces are for sale, and viewers can even donate directly to the artist. In this exhibition, English embarks on a mission to curate an atmosphere that triggers memories, draws emotion, and creates a space of vulnerability. The gallery encourages viewers to associate how colors connect to moments and decisions in their // M A Y 2 0

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Events

Beginning May 1st lives—creating endless possibilities for interpreting each piece. ellemnop.art. k

MAY 1st - JUN 30th

FITNESS PECAN CLASSIC VIRTUAL RACE Statewide, Louisiana

Originally presenting two options for a jaunt along False River—a one mile fun run/walk or a four mile race—this year’s New Roads Pecan Classic Race will be conducted virtually, giving all registered participants the opportunity to run, jog, or walk either a one-mile or four-mile course of their choosing, receive the official New Roads Pecan Classic shirt, and continue the tradition of promoting family, fun, health, and fitness throughout the community. How does it work, you ask? First, register for either the one- or four-mile race online (if you have registered prior to the virtual race transition, you will have the option to withdraw for a refund). Then, record your selected race results on any running app (like Map My Run), watch (like Garmin), or electronic file before the deadline.

Go to the park, run on a treadmill, or throughout your neighborhood; the

choice is up to you. Then, after your run, submit your results (time and distance) on the designated Google form (you will receive an email with submission information). If you do not have a Google account, simply send your results (e.g., picture of time and distance on watch, screenshot of your running app) to the timer, Bertha Lanthier, at blanthier54@ aol.com). You can run your selected race as many times as you want, but you are only allowed one submission. Please send videos and/or pictures to marketing director, Aimee Moreau (aimeeblsu@ gmail.com) so that the Pecan Classic team can share your accomplishments on social media. After all results have been submitted, overall and division winners will be announced. The last day to submit your run is Tuesday, June 30. To stay in the know, visit runsignup.com/Race/LA/ NewRoads/PecanClassic. k

MAY 1st - DEC 31st

HISTORY & CULTURE ST. CHARLES PARISH VIRTUAL MUSEUM Statewide, Louisiana

The Acadianas are one of the most

culturally rich areas of Louisiana, and St. Charles Parish is making sure we don’t lose a minute of the beauty and education thanks to the online exhibitions provided by its Virtual Museum. Check out the website to follow in the footsteps of early explorers, visit with founding fathers (and mothers), and access a plethora of resources, including video interviews, documentaries, historical footage, oral histories, town histories, and so much more from the 18th century and beyond. scphistory.org. k

MAY 2nd - MAY 23rd

DRINK UP ONLINE COCKTAIL CLASSES WITH MAKE & MUDDLE Statewide, Louisiana

In these virtual, live, interactive classes, Make & Muddle takes you through the basics to help you create some of your favorite drinks—a perfect distraction during extended social distancing requirements. Recordings of the classes will be available to anyone that cannot make the live events. Three different ticket options are available: $10 for a view-only ticket; $30 for the class and a Make & Muddle cocktail kit (kit includes three of their 4-oz. sample products including their 7 Syrup, 2 Pepper Agave Syrup, and Honey Lavender Elixir shipped to your door); $75 for class, cocktail kit, and bar

tools. Ticket includes all of the above plus a Viski mixing glass and bar spoon shipped to your door. Please be sure to provide your mailing address. Stay tuned this May for: • May 2, Shake It Up: The art of the shaken cocktail.

• May 9, Porch Pounders: Easy drinking cocktails made to share.

• May 16, Summer Slushies: Boozy frozen slushies.

• May 23, Tiki Talk: History and basics of Tiki drinks. bontempstix.com. k

MAY 8th - MAY 10th MAGICAL MOMS VIRTUAL MOTHER’S DAY CONCERT Statewide, Louisiana

Join Theatre Baton Rouge for a virtual celebration of the women who have helped shape our lives—our mothers, grandmothers, aunts, and more. TBR volunteers will be putting videos together as a virtual concert during Mother’s Day weekend, all directed by Jenny Ballard. Do you have a favorite photo of your mom, maybe even at a TBR show?

Send it to TBR at TheatreBR@gmail. com, and they’ll include it in the event.

Ticket sales will go live on May 5 on #GivingTuesdayNow. Patrons will be able to stream the concert from the safety

We see extraordinary courage. We see a culture of resilience.

We’ll make it through the tough times, we always do.

And Blue Cross will always be here to support you. bcbsla.com 01MK7309 04/20

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M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

The Shadows Plein Air Fine Art Sale: Through the Years will last throughout May in an online auction, the proceeds for which will support art education and the preservation of the historic Shadows-on-theTeche site. Art: R. Gregory Summers, March Cypress, 8’ x 16’, oil. See page 11.

of their own homes between May 8–10. $20. For more information, email Caty Steward at Csteward@TheatreBR.org or call (225) 924-6496. theatrebr.org. k

MAY 15th - MAY 24th

THEATRE HOW I LEARNED TO DRIVE VIRTUAL PERFORMANCE Statewide, Louisiana

Winner of the 1998 Pulitzer Prize and co-winner of the Susan Smith Blackburn Prize and the 1998 Lucille Lortel Award for outstanding play, How I Learned To Drive is a wildly funny, surprising, and devastating tale of survival as seen through the lens of a troubling relationship between a young girl and an older man, a powerful story especially resonant in the present moment of #TimesUp and #MeToo. Due to this unusual era of COVID-19, Theatre Baton Rouge is bringing How I Learned To Drive into the digital sphere with a virtual performance this May, directed by Dr. Shannon Walsh. Once patrons purchase tickets, they will be sent the Zoom link and password to log in and see the viewing instructions.

7:30 pm. 2 pm on Sundays. $20. theatrebr.org. k

MAY

21st

ARTS EDUCATION LIVE ZOOM CURATOR TALKS AT LSUMOA Statewide, Louisiana

The LSU Museum of Art is temporarily

closed due to COVID-19, but that doesn’t mean it’s stopped all signs of the creative spark. As part of a digital version of its popular Third Thursday and Free First Sunday events, LSUMOA will offer live Zoom Curator Talks on a variety of subjects. Virtual space is limited to thirty participants. The Zoom meeting ID will be shared with participants fifteen minutes before Happy Hour begins. 6 pm. Free. Check out the schedule for upcoming topics and register online at lsumoa.org. k

MAY

30th

VIRTUAL ARTS ARTS MARKET NEW ORLEANS’ #VIRTUALARTSMARKET Statewide, Louisiana

Quarantine crafts not exactly turning out to be masterpieces? Maybe it’s time to call in the professionals. On the last Saturday of the month, the Arts Council of New Orleans presents the continuation of its #virtualartsmarket, a collection of online resources— searchable by the nominal hashtag—to connect you to New Orleans artists’ and artisans’ work, whether via Facebook, Instagram, or Twitter. The Arts Council will be posting artist features online, and you can tune into the Arts Market New Orleans’ Facebook page for special video content from local artists to small, handmade businesses. Even if you can’t purchase the artwork featured, any like or share can do a world of good. 10 am–4 pm. See a schedule of videos and featured artists at facebook.com. k // M A Y 2 0

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Features

MAY 2020 16

T H E Y E A R O F D R I V E -T H R U

23

SELFIES

& SPARE

TIME

CRAWFISH

// 2 1

THE

ST R A N G E T I M E S

A R T O F H O R S E W H I S P E R I N G //

W

This crawfish season has been a difficult one for Louisiana farmers, who are struggling to sell their product to a market in which gathering is forbidden—leaving most of March and April's sales totally dependant on individual drive-thru purchases.

H E A D S O R TA I L S

Crawfish Season 2020

A UNIQUE SET OF CHALLENGES MEETS THE PRODUCERS AND DISTRIBUTORS OF LOUISIANA'S MOST CULTURALLY SIGNIFICANT CROP

T

here’s nothing quite like it.

Spreading pages of old newspaper along a table—or grabbing a plastic tray, if that’s your thing—and watching the steaming red contents of a boiling pot pour onto your surface of choice, riddled with garlic and spices. Armed with an Abita by your side, you take a swig before digging in, peeling off tender tail meat, and sucking the juice straight from the head.

It was the peak of this year’s crawfish season when the COVID-19 pandemic hit, a time when many South Louisiana residents would normally gather on a weekly basis for crawfish boils during the Lenten 16

Story by Lauren Heffker • Photos by Paul Kieu and festival season. With everyone retreating into their homes, and restaurants shuttered for the foreseeable future, the industry has taken a crippling hit over the course

the price per pound so low that a lot of farmers and processors can’t afford the labor to harvest and peel them all. There aren’t enough distributors open to push product, and the huge

"WE’RE RELYING ON EACH OTHER TO SUPPLY A PRODUCT THAT'S SO ESSENTIAL TO WHO WE ARE AS CAJUNS.”

—KYLE CHOATE, CAJUN CLAWS of just over thirty days. Because

demand for

normal distributors are either closed

makes it more difficult for farmers to

or limited to to-go orders only,

get rid of their medium-size crawfish.

there’s a surplus of crawfish, driving

In Breaux Bridge, the small town

M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

"the big guys" only

in St. Martin Parish dubbed the “Crawfish Capital of the World,” the annual Crawfish Festival—like so many others—was postponed indefinitely. Originally scheduled to take place May 1-3, the three-day event annually goes through nearly 25,000 pounds of crawfish over the course of the weekend, which sees about 30,000 attendees. “This festival, and the crawfish industry as a whole, are extremely important to our culture because it’s really a testament to who the people of our area are, our passion for life, and the camaraderie of individuals here,” said festival association president Mark Bernard.

Now available on Amazon!

Dustin LeBeouf ’s Crowley-area crawfish farm is the product of years of hard work and long hours come to fruition. LeBeouf started farming in the early 2000s, leaving an offshore job to try his hand farming crawfish, following the same path as his dad.

He’s gradually built up his operation each year, forming partnerships with different distributors and learning the ropes of the business side. This year, he’s harvesting five hundred acres of crawfish with just himself, his dad, and a few workers they bring in each year.

“I just feel it's my calling from God and I feel very blessed to be able to do it as much as I can,” LeBeouf said.

LeBeouf doesn’t have the longevity or name recognition that bigger crawfish operations do, relying on bank loans to see his crop through from season to season. So when

there’s a bad crop year, he doesn’t have the cash reserves to ride it out; instead, LeBeouf has to decide if he’s willing to go further into debt in order to plant extra acreage in rice this fall—hoping he can make enough to break even. “Is that really what I want to do? No, but I know I have to figure out a way to pay all these bills, you know?” Without government assistance, LeBeouf is concerned that smaller farms like his won’t be able to recover enough to survive in the long term.

“It’s hard because you only have really five months out of the year to make your money in the crawfish operation, and it’s grind time,” LeBeouf said. “You come out of a bad rice crop and you’re depending on the crawfish, but the crawfish aren’t there for you. You've still got to figure out a way to pay everything, you know. It’s

NATASHA.ITSCOMPLICATED 2019ITSCOMPLICATED@GMAIL.COM

// M A Y 2 0

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Crawfish continued ...

In its fortieth year in operation, Sylvester Crawfish Processors is currently run by three generations of the Sylvester family. Pictured from left to right: Jeffery, his brother Ted, his three sons Jeffery, Alex, and Jared, and his three grandsons Frankie, Wiley, and James. The business, started by Jeffery's father Chester Sylvester, farms and processes its crawfish on-site.

a tough game.”

When he thinks about leaving the farm as his legacy to his two young sons, LeBeouf isn't sure whether the risk is worth the reward.

“I would love to be able to do it, but I'm gonna be honest with you. It's scarier and scarier for somebody like

me, and I have a lot of faith. In order for me to be able to hand it down to my children, I need to be able to be a lot more stable with where I'm at, and we’ve done nothing but grow year after year. But, there are some years where you don’t. This is one of them.

“I feel that if I give up then I've

accomplished nothing, but if I keep thriving, and I keep fighting the fight, I figure that one day I'm gonna pull through.”

Jeffery Sylvester has been crawfishing since he was old enough to walk in a crawfish pond. Sylvester, 61, has spent

the majority of those years out in the ponds on his family’s property in Whiteville. Sylvester Crawfish Processors was established in 1980, run by the family patriarch Chester Sylvester, along with Jeffery and his three brothers, Tim, Chet, and Ted. By ‘83 they were building the processing plant, and over

Refresh Outdoor + Online

During this difficult time for East Baton Rouge Parish, BREC is here for you! Refresh your mind online and outdoors with BREC’s Play & Grow Pros website. Here you can find virtual versions of some of your favorite BREC activities and adventures.

Also on this website, is a full list of parks still open and safe to visit in addition to some ideas for you and your family that will revive and refresh your mind in a positive and safe way.

PLAY + DISCOVER + GROW safely with BREC at

brec.org/refresh, today!

WWW.SHOPTFS.COM 18

M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

BREC.ORG/REFRESH

Though individual sales haven't been enough to make up for the crawfish industry's losses this year, long lines at drive thrus across the state are a testament to locals' dedication to the culinary staple.

the years, the operation has grown to three thousand acres. Jeffery Sylvester’s three sons will be the third generation to take the reigns of the family business; two have completed college degrees—including a master’s degree in astrophysics—and returned to work the farm, while his youngest is still in college.

Sylvester employs a workforce of around forty employees to tend the ponds and run the plant. His largerscale operation allows him to process his crawfish harvest onsite rather than having to go through a middleman. This has been crucial during the pandemic,

as many proessing plants are currently being forced to work on skeletan crews due to COVID restrictions. Sylvester doesn't outsource his crawfish, so he can sell his product to distributors at a lower price per pound. Still, there are challenges.

“Usually the farmers would make real good money for the year in March and April, before Easter, and after that the price drops, and you don't sell as much crawfish,” Sylvester said. “But you’ve already made your money in those few months because that's when everybody's buying them. Well, that's // M A Y 2 0

19

Crawfish continued ... not what happened this year with the coronavirus.”

For as much as Louisiana folk love crawfish, it turns out the producers providing it love it just as much. “I get a lot of people who don’t understand my sanity, they think I’m crazy because I get up every morning with a smile on my face to go to work,” Sylvester said. “I just love what I do. It's something that is in me and I have to be out here every day because this is where my sanctuary is.”

Lafayette attorney Kyle Choate grew up washing dishes and waiting tables at his parents’ restaurant. Established in 1996, Donni and Jodi Choate’s Abbeville eatery, Cajun Claws, is an Acadiana institution whose praises have been sung over the years by GQ’s food critic, as well as The Times-Picayune’s former food critic, Brett Anderson, who is now a regular contributor to The New York Times. Anderson says, “Cajun Claws boiled crawfish is some of the best you’ll ever eat.” They’re also some of the biggest.

Since Cajun Claws closed its dining room in mid-March, Kyle Choate has been delivering bouts of to-go crawfish to loyal customers in Lafayette every Friday night. The weekly delivery trips have brought the Choate clan back to

A combination of beautiful weather, efforts to support local businesses, and low prices per pound has seen an uptick in casual. small-scale crawfish family dinners across Louisiana—a tiny source of celebration in a festival-less spring.

their roots of helping the family business however they can.

“Us being able to buy [farmers’] products supports their family; it's a mutual process. We’re relying on each other to supply a product that's so

essential to who we are as Cajuns.”

“It's not like you see these people on the news, these are people from small communities. You're not going to see them on the day to day. But our business supports them. So I think that's vital in

terms of how we're dealing with this as well, because nobody speaks on their behalf. They will just make do, which is what my parents are trying to do—to try to make do with what they’ve been handed.” h

SCOTT, LA • 888-620-TREE (8733) CHURCH POINT, LA • 337-684-5431 WWW.BOBSTREE.COM 20

M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

MAN & BEAST

Equus

IN AN ERA OF FEAR, REKINDLING AN OLD PASSION AND A LOST LANGUAGE Story and photo by Jordan LaHaye

D

irt sprays, flung behind frantic flying hooves.

Lucy throws her head, eyes wide, and never stops running. The round pen my dad built just a week ago is around sixty feet in diameter, so the only place she can go is around and around and around. Our blue heeler Sammie—my dad’s great protector—charges at those four scattered heels with her ears back, weaving through them precariously, if skillfully, and growling.

“Shit, shit, shit,” Dad curses, hands rising to clutch the top of his bald head.

I shout at the dog, then jump to press myself against the fence as Lucy passes again, her heaving belly sweeping warm and weighty against my back. The saddle—her first—hangs upside down, the stirrups dragging, tripping her again and again.

My dad steps into her pathway, “Woah, woah, just stop baby, just stop,” then scuttles back as she charges forth. She orbits him twice more before he tries again, stepping directly in front of her.

She slows, dances a bit, raising up just a little on her back legs, then comes down in a hard stop. Dad, with both hands out, approaches. He touches her nose, then her heaving chest, then her legs. She waits, eyes still wild, as he stands up and grabs up the halter, stroking her neck and whispering through it all. Never breaking eye contact with her, he reaches down and unclasps the saddle, letting it fall to the ground. “I’m so sorry, girl.”

It was a stupid mistake: He hadn’t pulled it on tight enough. It was the first time he’d saddled her, and now, at this moment, she was afraid of it, and doubtful of him. He looks at me and asks, “What is the equivalent of ‘getting back in the saddle’ for a horse, you think?”

cousin’s mispronunciation of my name as “baby Garden.”

From that lineage grew a herd of a dozen fat, pasture-raised quarter horses— each of which my dad trained for us to ride.

“I really loved starting them,” said my dad. “I wasn’t a trail rider, we didn’t compete, don’t have cattle. I just enjoyed this process of taking this wild beast and teaching it to ride. And then they were ours.”

They were ours. They’d stand majestic against the backdrop of our Cajun prairie sunsets, earthy and warm and larger than life. We aren’t riders, our family. My oldest brother is the only one of us who ever became totally confident in it. When we were small, though, we’d all go out together and take turns on the horses my dad had trained. There are oh so many sweet memories of hot summer days spent on JoJo or Leo or Sugarfoot’s back, following our dad around our pasture or

trotting down to the Bayou Nezpique.

More than anything, these beasts were our pets—gorgeous creatures who’d meet us at the fenceline, let us untangle the elf knots in their mane, chew hay from our hands.

On an evening in March of this year, I sat with my parents on the dock of our camp in Oakdale. The sky was blanketed in clouds, the air gray, the water still.

Our conversations held an unfamiliar heaviness to them, edging around the new realities we each were facing in the wake of this global pandemic. We mourned the threatened milestones of this big year: my brother’s baby on the way, my wedding, my younger brothers’ eighth grade and high school graduations.

We spoke aloud of the risks my parents both face working in a medical clinic, and the financial strains of trying to keep its doors open. And my mom—who has asthma—admitted her deepset fear of

getting sick, then dying alone. Of her parents dying alone. It was the first time, I think, we’ve ever—so concretely—talked about fear.

Later that night, things brightened a bit by the distractions of a bustling family dinner, Dad turned to me and said, “You know what I did yesterday? With all this new free time?

“I built a round pen.”

In the sixteen years between Éclaire’s training and Lucy’s, a drought brought Dad to sell off most of our horses. Though his involvement with the racehorse business kept ponies rotating through our pastures, we never got to keep them, and urologists don’t train racehorses. Life passed by, as it does, in the whirlwind that comes of living with a family of seven.

But now, for the first time since I was a child, Dad’s got a pony of his own again.

Lucy was born in 2018, a gorgeous, extroverted miniature of her mother.

I was eight years old the last time my dad last trained a horse—Lucy’s mother, Éclaire, named for the bolt of lightning delicately poised in the center of her forehead. “I remember Claire being the sweetest baby I had ever started,” he said.

“Just beautiful, smart.”

Before Éclaire, he had trained twelve other horses, including her brother, her uncle, her aunt, and her mother, Gigi, the very first pony of his own as an adult.

Gigi was born the same year I was, in 1996. Her name was short for Garden Girl, an eponym for my two-year-old // M A Y 2 0

21

Equus continued ...

Even before Dad started her training, she’d meet him at the fence and stick her nose in his face.

At two years old, she’s the perfect age to start. On the first day of training, I stood at the fence and watched my dad at the center of the pen, circling a rope through the air, snapping it just behind her as she ran around and around and around.

It’s a scenario that, to the untrained eye, looks precarious, dangerous even. But even I could see that there was something happening, something being forged, between the two of them.

Monty Roberts once famously said, “Horses are our silent partners. When we learn their language, this partnership grows strong.” Perhaps the most iconic and radical horse whisperer of the twentieth century, Roberts’ training philosophy is built on the mythic origins of his time spent, as a thirteen year-old, observing the behaviors of mustangs in the Nevada desert. In studying their patterns, he learned to “speak” the language of horses, which he calls “Equus.”

In stark differentiation from the previous generation’s efforts to “break” a horse—defeating them through violence to establish dominance— Roberts preaches a method focused on communication and mutual understanding between horse and man.

“A lot of people think the man’s crazy,” says my dad. “But it’s incredible how when you go do it, every horse does what he said. It’s like the horse read the damn book too.”

Over the years, my father has used Roberts’ philosophies of communication and nonviolence—often distilled through the more practical methodologies of another great horse trainer, John Lyons—to develop his own practice. It’s a program with the goal, as Lyons says, for “the horse to be my partner … someone I can trust and who trusts me; someone I don’t have to force to do something.”

“You start to control the horse,” my dad describes. “Roberts talks about body position, head position, hand position.

This is a flight animal. Horses are built to run when they are afraid. You tap into that, square your shoulders at the hindquarters, and you can move her. It’s like mind control.”

And if you watch closely, says Dad, you’ll see certain things. A horse uses its ears to monitor her surroundings. As she runs, she’ll eventually stop moving the one closest to you, the inside ear—a sign of respect. Then she’ll start to bend her head inwards, towards you at the center of the circle, and she’ll move her mouth in chewing motions, running her tongue along the outside of her mouth, signifying that she is not afraid. Then finally, she’ll 22

M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

put her head down towards the ground, in recognition of your dominance.

According to Roberts, these tiny signals are the horse’s way of asking permission to stop running. “You pick a spot where you want her to stop, then you step back,” says Dad. Taking a submissive stance, Dad invites the horse to approach him. At first, she shifts around nervously, looking away.

He bends his shoulders forward, speaking softly to her, trying to catch her eyes with his own. And she comes.

Roberts calls this “joining up,”— perhaps the most important milestone in training a horse. “It is the moment when the horse decides that it is better to be with the person than to go away,” he says.

As soon as the horse joins up to Dad, he’ll rub down her chest, in between her front legs, down to her feet. “You’ve got this nervous horse, who is now letting you into their most vulnerable places,” he says.

“It’s about trust.”

Then—for me—the most remarkable part: The horse will follow him, wherever he goes. “You can drop everything, walk around with no lead rope, nothing.

She’ll follow right behind. You’ve made the connection, the same connection a dominant horse will make with a younger horse …” Dad pauses and smiles, “if you believe all that crap.”

Once he gets Lucy settled down from the saddle mishap, Dad removes her halter and starts walking around the pen.

Leadless, she follows, nose to his shoulder.

He hasn’t lost her.

Standing in the center of the pen with one hand on the halter, Dad reaches down and grabs up the saddle again. He asks me to hold her. I stand by her head, looking her in the eyes, whispering sweet nothings as Dad slowly eases the *scary thing* back into place on her back. Her feet dance a bit. He takes my place at her head, and with a deep, blustering breath, she calms.

In John Lyons’ book Lyons on Horses, he writes, “We can’t tell the horse not to be afraid, because that request would be unreasonable. But we can teach him what we want him to do when he does become afraid.”

Watching my dad in the open air, walking in circles with his new partner at his shoulder, I think about the ways fear can coexist with growth. Perhaps growth isn’t the right word. Maybe it’s simply being. Fear is inevitable, particularly when it comes to the relentless shades of unknown that we are facing now. But there is space to be found—enmeshed in all this darkness—for revisiting ourselves, our dormant passions and our deepest values. What do we do with this wild, unpredictable fear? Let’s make something new. Let’s make something ours. h

S U R V I VA L & S E L F I E S

A Day in the (Lockdown) Life

NOLA PERSONALITIES TALK CUISINE, ART & MUSIC IN A SOCIALLY DISTANT WORLD

by Christina Leo

A

s posited by Pilar, the gun-toting, part-Gypsy she-rebel of Hemingway’s For Whom the Bell Tolls, “I suppose if a man has something once, always something of it remains.” Luckily, we’re not currently caught in the combative crosshairs of the Spanish Civil War (although it may feel that way at times), and the current crisis, although decked in uncertainty, has yet to draw from us the white flag of surrender, leaving

us still with our most valuable possession: our creativity. In fact, our state’s finest artists, chefs, and musicians continue to march to the beat of their own drums— and when the rhythm shifts, then to the brand new beat of a world on the brink of transformation. With that groove in mind, we checked in with three New Orleans icons about their daily life during coronavirus lockdown, and how they’re navigating this unexpected journey—selfies included.

Dickie Brennan

Founder/Partner of Dickie Brennan & Company Restaurant Group

“W

hen this all started, we began trying to offer as much takeout service as we could, but we’re located in the French Quarter, and the French Quarter has become a ghost town. So we decided to circle the wagons. We have been wanting to develop The Commissary Market & Eatery for years—it’s the newest addition to Dickie Brennan & Company, a restaurant and market designed to supply all our restaurants with products straight from farmers and fishermen, and to allow the public to purchase those items, too. My dad in the 1980s was a pioneer proponent of the farm-to-table concept. Now, instead of meat and produce and the like hitting the back doors of our individual group of restaurants, we want to bring these speciality products into one facility in order to do our batch cooking under one roof, and to offer local fresh seasonal

"I'M MAKING LEMONADE OUT OF LEMONS. I'M PROUD THAT OUR INSTINCT ISN'T TO BURY OURSELVES AND GIVE UP, BUT TO JUST KEEP GOING, TO LEAVE THINGS BETTER THAN WE FOUND THEM." specialty products to local shoppers. That’s our kids’ project, although I shouldn’t really call them kids, anymore. I’m really interested in seeing them lay out their plans and create a new experience.

But I think the only reason I haven’t gone crazy is that I bought a house right before all this went down. I’m constantly working on different projects: painting rooms, hanging pictures.

My front porch looks out at the levee, and my back deck looks out at the Mississippi River.

I’ve been sitting there every day to watch the sun go down, and it’s been my saving grace.

There’s a silver lining to everything. Sure, I feel like it’s Groundhog Day and I’m ready to wake up and move on. But I’m making lemonade out of lemons. I’m proud that our instinct isn’t to bury ourselves and give up, but to just keep going, and leave things better than we found them. Everyone in my family is healthy, so that’s what we’re grateful for. We’re survivors and we’re surviving.” h Photo courtesy of Dickie Brennan. // M A Y 2 0

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Lockdown continued ...

James Michalopoulos Painter and Sculptor

“M

Southside Gardens

any people don’t know this, but I’m also coowner of Celebration Distillation on Frenchman Street, and once things started getting serious, we started making hand sanitizer. That was a big shift for us, going from making Gingeroo and New Orleans Rum to high-proof hand sanitizer. We’ve been doing that full-out, with double shifts, trying to keep up with the market. Of course everything else around us has slowed down, but for us in that arena, it’s quadrupled.

I’m lucky, too; I can go from work at the distillery during the day, and back home to work in the evening. My studio sits at the edge of the French Quarter, which is a desert now, like nothing you’ve ever seen. I find that it’s challenging me in terms of the kinds of things I paint, too, and the way that I paint them. For example, the generalized orientation of my work is toward a kind of celebration of New Orleans and our culture, and I feel called to that again, but in slightly different

"THE GENERALIZED ORIENTATION OF MY WORK IS TOWARD A KIND OF CELEBRATION OF NEW ORLEANS AND OUR CULTURE, AND I FEEL CALLED TO THAT AGAIN, BUT IN SLIGHTLY DIFFERENT FORM— IN THE SENSE THAT I FEEL LIKE I’M LIVING IN GRATITUDE FOR THE BEAUTY THAT WE HAVE."

“A wonderful experience with wonderful people"

Open and Accepting New Residents

Michelle Cave, resident.

Also pictured, Judy Johnson, Team Member

Our experienced team members are following all CDC and state guidelines for essential workers.

No buy-in fee | Utilities and cable TV included Weekly housekeeping | Ground floor apartments Home cooked meals prepared daily by Chef Celeste

4604 Perkins Rd. | 225.922.9923 | southsidegardens.com 24

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form—in the sense that I feel like I’m living in gratitude for the beauty that we have. In some ways there’s an aspect of sadness around the loss of the ability to share it with people and to be in it, but it makes me poignantly aware of the presence of the culture and the built environment and the people that animate it, and everything that’s been so instantly taken away by this plague.

One thing that’s been coming up for me again and again is the need to look and see how we can build a sustainable way of living that is generative and contributory. There’s a lot of tradition in Louisiana that speaks to quality and richness and celebration, and I feel like no matter what happens in the world, we’ll sustain ourselves with our appreciation for those things and our expression of cultural beauty and truth and excellence. Whether that’s music, or food, or art. Even architecture. Just moving forward with the richness of our cultural heritage.” h

Photo courtesy of James Michalopolous.

"I'M LOOKING FORWARD TO BEING ABLE TO CONTINUE SPREADING THE JOY OF MUSIC AROUND THE WORLD."

Troy "Trombone Shorty" Andrews Musician, Producer, Actor, and Philanthropist

“I

’m isolating with my mom, sister, and brother. A day in the life is waking up, getting a workout in, and then having lunch and spending time with the family. I might talk to my team or the director of my Foundation to see what's going on. Then I head to the studio for a few hours and back home for dinner. Before this current situation, I was never home—what with being on tour all around the year.

So this time is actually allowing me to experience family time again!

But besides working on mixes for my new album, I’m not working on anything in particular. I’ve been playing my instruments mostly everyday to stay sharp and in shape, because in fifteen years I haven’t had this amount of time off. I don’t think my music has been affected by the current situation, and I know how hard this is for people everywhere, but mentally it has been a bit challenging for me not being able to perform for

people around the world and be with my band.

I would say that in the first two weeks of quarantine I wasn’t focusing on music because my mind was trying to process the COVID-19 situation and to understand what’s going on.

It hasn’t necessarily impacted me creatively because I hear music all day in my head, and so if I get an idea I just hum it in to my phone or pull out my laptop and put it down, no matter the circumstances. And then I can head to the studio to work it out more.

Sometimes on tour I don't have the space to be able to follow through on ideas to that extent, so that is different.

In the meantime, I’m looking forward to hearing that all of our frontline workers are being taken care of and also that more people have recovered, and I'm looking forward to being able to continue spreading the joy of music around the world.

Music unites people, and so I hope to continue doing that as soon as it is safe.” h

Photo courtesy of Troy Andrews.

Smart.

Safe.

I G

WE ARE

LOUISIANA #WeWillBeatCOVID19

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Cuisine

MAY 2020

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EAT YOUR HEART OUT

W H A T ’ S C O O K I N G?

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Margherita Pizza & Dough

by Brumby Broussard

Dough:

When the COVID-19 crisis began, photographer Jenn Ocken jumped into action to document families and community members in their homes and businesses in special, free “porch portraits”. For our May issue, Ocken brings her portraiture to the restaurant scene, capturing three of our msot beloved eateries and the heads, hearts, and hands behind them. Pictured here: Owners of BLDG 5 Brumby and Misti Broussard.

COMMUNITY

Comfort in the Chaos CAPITAL CITY RESTAURATEURS DISH ON THE DISH THAT’S GETTING THEM THROUGH THIS NEW WORLD

Story by Christina Leo • Photos by Jenn Ocken

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hen BLDG 5 opened late last year beneath the college-town eaves of the Perkins Overpass, it stood out as one of the most stylish and innovative new restaurants in Baton Rouge.

Under the leadership of Brumby and Misti Broussard, a southern-raised and California-seasoned couple, its salvaged decor and vintage restoration vibes turned its plant-laden patio, gleaming bar, and grab-and-go marketplace into the perfect place to swing by with friends, and to gather around hefty “grazing boards” and globally-inspired cuisine. Before COVID-19 changed up the world’s business model, BLDG 5 was supposed to be the star of the show at Country Roads’ now-cancelled People & Plants Supper Club, a tribute to the intricacies of vegetarian cooking against the beautiful spring foliage of the Hilltop Arboretum. Now, in the service of Change, that pesky muse of modern times, BLDG 5 and kindred businesses around Baton Rouge have risen to the challenge, continuing to serve the 26

communities that support them.

“We decided from the very beginning that we weren’t going to curl up in a ball,” said Brumby. “We were going to roll with the punches. Customers want to see you have a positive attitude so that they feel good being there for you. The last thing they want is somebody or something negative around them.”

While navigating take-out and delivery orders, Brumby and Misti have found themselves with more time at home than ever before, and more chances to cook with their children and indulge in one of their favorite comfort foods: Neapolitan-style pizza.

“Now that we’re working fifty to fiftyfive hours a week instead of the usual eighty-five, we’ve put up a hammock, added a swingset to the tree house—just trying to spend time in the yard with the great weather,” said Brumby. “I get to light up my Green Egg, roll out dough with my kids. We used to only see them when we dropped them off and picked them up from school, but now the comfort is getting to be with them all the time.”

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Ingredients 1 cup 00* flour 1 cup all purpose flour 1 tsp salt 3/4 tsp active dry yeast 1 tsp extra virgin olive oil Preparation In a large mixing bowl, combine flours and salt. Then, in a small mixing bowl, stir together a little less than 1 cup lukewarm tap water, the yeast, and the olive oil, then pour it into flour mixture. Knead with your hands until well combined, approximately 3 minutes, then let the mixture rest for 20 minutes.

Knead rested dough for 3 minutes. Cut into 2 equal pieces and shape each into a ball. Place on a heavily floured surface, cover with dampened cloth, and let rest and rise for 3 to 4 hours at room temperature or for 8 to 24 hours in the refrigerator. (If you refrigerate the dough, remove it 30 to 45 minutes before you begin to shape it for pizza.)

To make pizza, place each dough ball on a heavily floured surface and use your fingers to stretch it, then your hands to shape it into rounds or squares. Top and bake.

Also if time is not your friend, Trader Joe's has a great pizza dough balls ready to rollout!

Preheat Oven or Big Green Egg with Pizza Stone in it to 500 degrees.

Margherita Pizza: Sauce Ingredients 3/4 cup crushed San Marzano (or Italian plum) canned tomatoes 2-3 fresh garlic cloves, minced 1 teaspoon extra virgin olive oil, plus more for drizzling 1/2 teaspoon freshly ground black pepper 1 to 2 tsp of kosher salt Toppings: 3 tablespoons finely grated parmigiano-reggiano cheese, plus more for serving 6 ounces fresh mozzarella cheese, cut into 1 inch cubes (*preferably fresh mozzarella not packed in water) 7 large fresh basil leaves plus more sliced for serving crushed dried red pepper flakes Preparation: As the oven is preheating, assemble the sauce ingredients. In a small bowl, stir together the pureed tomatoes, minced garlic, extra virgin olive oil, pepper, and salt.

Set aside another small bowl with the cubed mozzarella cheese (pat the cheese with a paper towel to remove any excess moisture). Set aside the basil leaves and grated parmigiano-reggiano cheese for adding once pizza is done.

Build your pizza with sauce, cheeses, basil leaves, and crushed pepper Bake for 7 to 8 minutes, or until the crust is golden and the cheese is bubbling and caramelized and the edges of the pizza are golden brown. Remove the pizza carefully from the oven with the pizza peel, transfer to a wooden cutting board, drizzle the top with olive oil, and add some grated parmigiano-reggiano cheese, and sliced fresh basil. Slice and serve immediately. *A fine Italian milled flour often used for pizza and pasta.

T

o call Louie’s Cafe a Baton Rouge institution would be an understatement For nearly eighty years, the diner has made a name for itself as a pinnacle for the hungry collegiate crowd of Louisiana State University’s “North Gate” area, longstanding for its legendary biscuits, crispy hash browns, and the motivating scent of fried deliciousness which to this day likely lingers on a few threadbare sweatshirts thrown on en route to a latenight fix. For a 24-hour restaurant so

close to LSU’s campus, which languishes in uncharacteristic silence these days, the COVID-19 crisis has been an especially drastic upheaval. Owner Jimmy Wetherford has taken the opportunity to continue take-out services, as well as making some necessary renovations in some of the restaurant’s interior. But he’s also turned an eye beyond the walls of Louie’s, looking for ways to give back to the essential workers keeping the crisis at bay.

“We obtained a sponsor that helped

us make mass quantities of jambalaya meals with white beans and corn bread and salad, and we sent them over to Baton Rouge General Mid City,” said Wetherford. “And in late April, we kicked off our adopt-a-hero program. A sponsorship of $100 will get you twenty jambalaya dinners delivered to whatever first responder, hospital, firefighter, or any essential-worker group that you want, and we’ll deliver those meals to them. That’s what comfort food is, something that can help someone feel a

Jimbo’s Jambo Ingredients: 1 Hen 2 lb chicken thighs 3 lb andouille sausage 3 lb pork butt or similar pork meat

little bit better.”

Louie’s has also offered special days where essential employees can show their ID at the drive-thru window to receive a free meal, something Wetherford aims to continue through the crisis.

“We’re just trying to give back to people on the front lines, and we’re committed to doing that until this crisis is over,” he said. “We don’t make money off those specific services, of course, but it spreads a little cheer. And it’s good jambalaya, too, I must say.”

by Jim Wetherford

2 qt diced yellow onion 1 qt chopped celery 1 qt diced bell pepper 2 cups chopped parsley 2 cups chopped green onion

black pepper 1/2 cup minced garlic Tony’s Creole 3 tbl rosemary Seasoning 3 tbl thyme 1/2 cup Worcestershire Tabasco Sauce 1/2 gal rice 1/4 cup dark roux 1 gal stock salt

Preparation: Smoke Hen and Pork Butt with Pecan wood (not fully done, about 1 hour). Then, make stock with smoked hen. Pull the meat, set aside, and cook the bones some more. In a large cast iron pot brown off separately sausage, thighs, and pork. Be careful not to burn the brown residue that sticks to the side of the pot. In the pot, sauté onion, celery, bell pepper, 1 cup parsley, 1 cup green onion, garlic, rosemary, and thyme until it’s almost a mush. Incorporate the residue that is stuck to the pot.

Add all meats (don’t forget the hen meat), Worcestershire, roux, and stock. Bring to a simmer. Add spices to taste. The broth should taste like a thin gumbo that has way to much salt and pepper.

Add rice. Stir once, bring to simmer, cover and put heat to lowest setting. Cook 15 minutes. add rest of parley and green onion. Fold over rice once. Cover and cook for another 15 minutes. Enjoy Also, it freezes well.

Jimmy Wetherford, owner of Louie’s Cafe.

GRAND ISLE, LOUISIANA

GRAND ISLE LOUISIANA STRONG While you may not be able to visit, we hope you and your family are safe and healthy and that your memories of Grand Isle bring you comfort during these challenging times. We will be here to welcome you when life returns to normal.

Please visit www.townofgrandisle.com for up-to-date information on the COVID-19 Coronavirus Pandemic.

TOWNOFGRANDISLE.COM // M A Y 2 0

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Comfort continued ...

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pillar of Louisiana-meetsMexican fusion cuisine in Baton Rouge for over twenty years, Mestizo is also a leading advocate for healthy, locally owned eateries in the city. The Acadian Thruway staple has, under the direction of owner Jim Urdiales, metamorphosed through the decades into a restaurant fully engaged with its clientele, from trusty regulars to a steady stream of students and young people looking for a fresh take on old favorites—plus some innovative incorporation of keto, glutenfree, and vegetarian recipes. Well-known for his community involvement and support of various charities in the city, Urdiales retains a sense of integrity that persists, even in difficult times.

“We’re lucky that we had already built up a local clientele who frequently used our to-go order option,” said Urdiales.

Guacamole

by Jim Urdiales Ingredients: 24 Hass Avocados ripe 1 cup of chopped white onions 1 cup of chopped vine ripe tomatoes 8 oz. of salt 4 oz. of black pepper 4 oz. of white pepper

“We had offered family-style meals in that third-party app for a few years, so all we did for the current situation is retool them.”

Urdiales has also noted the increase in camaraderie between restaurant owners, and finds himself banding together with his cohorts more than ever.

“It’s like being a restaurant therapist,” he said. “A lot of people are thinking of changing their business model for the long-term. This is where you learn the weaknesses of your business, and take this time to focus on what you don’t have, revamp, and hopefully come back stronger.”

As for his favorite comfort food while the world works itself out?

“Honestly, it’s the simplest thing, but I’ve really fallen in love with guacamole and chips. I just can’t get enough of it. h

8 oz. of granulated garlic 1 cup of Italian dressing Preparation: Cut avocados in half, and remove seed. Scoop all product from shell, and place in a bowl. Use a masher, and mash a few strokes. Add onions, tomatoes, salt, white pepper, black pepper, granulated garlic, and Italian dressing, and mash together till avocado is a smooth texture. Serve and enjoy.

Jim Urdiales, owner of Mestizo.

#LANorthshore

As we celebrate 38 years of Darby's we are so thankful for our friends and customers.

Thank you for the love, support, encouragement and loyalty all these years. Without each of you Darby's team would not make it and we are forever appreciative! for

Get Back to Nature in

St. Tammany Parish Stir your soul on Louisiana’s Northshore, where outdoor adventure and small-town charm awaits you. Just one hour from Baton Rouge.

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@darbysnatchez

M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

→

EXPLORE THE NORTHSHORE VISITOR GUIDE and start planning your weekend retreat.

L ouisian aNor t hshore.com/cr | (800) 634 -9443

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Culture

MAY 2020

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M E M O R I E S O F S U M M E R S P A S T //

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Photo courtesy of Ruth Laney.

H A L C Y O N D AY S

The Acadian Club

REMEMBERING BATON ROUGE’S ICONIC COUNTRY CLUB FOR TEENAGERS

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By Ruth Laney t a recent estate sale, I came across a couple of membership directories from the Acadian Club, a country club for teenagers that flourished in Baton Rouge from the late 1950s through 1980.

It got me thinking about my own brief sojourn there, which was limited to a few Saturday-night dances and a class in—of all things—synchronized swimming.

On Facebook’s Baton Rouge Historical Group and Old Images of Baton Rouge, I discovered that many natives still share fond memories of the place. Then, a

N O ST A LG I A

Google search turned up a 1964 LSU dissertation on recreational clubs in the city that included a section on the Acadian Club.

Modeled after the Valencia Club in New Orleans, the Acadian Club was opened in 1956 by a group of likeminded parents led by Mrs. Homer Tanner, whose teenage daughter had “made demands” for better social and recreational opportunities.

The first group of five hundred members was drawn from ninth-totwelfth-grade students at Baton Rouge, University, and Catholic high schools,

St. Joseph’s Academy, and Westdale, Baton Rouge, and Glasgow junior high schools. Later, students from Lee Junior and Senior High, St. Joseph’s Parochial School, and Woodlawn students were added. The membership fee was $135.

That year, the club purchased the Jefferson Country Club property on Jefferson Highway, which encompassed a two-story clubhouse, a swimming pool, and eight acres of land.

The main hall of the clubhouse, with its 2,500 square feet and a hardwood floor, was a brick addition to the property’s original wood frame house.

It expanded the home’s living room and incorporated the original staircase to the second floor. Purchase price was $65,000.

Dr. Francis Drury, a professor of Physical Education at LSU, was engaged to direct the club along with Sally and Melvin Meyers, a young couple with a baby daughter, to work as live-in managers. The family lived on the second floor of the main building. By the time they left six years later, they had four children living in the apartment.

Built in the 1920s by the McInnis family on land that once made up Inniswold Plantation, the white frame two-story house “had fabulous bones,” recalls Nancy Jo Poirrier, who with her husband Hickey worked at the club in the 1960s. “The main room had a curved staircase. At the landing you faced a mirror that was twenty feet tall, a gigantic mirror that went up to the second floor. It was just gorgeous.”

“It looked like a southern mansion,” remembers Sally Meyers. “A beautiful old house with wooden floors that were polished until they sparkled. When you walked in the first thing you saw was the dance floor, which had columns up to the ceiling.”

Baton Rouge teenagers used the space for Saturday dances from 8 until midnight. Adults manned a table at the door, collected the fifty-cent cover charge, and stamped the hands of the boys and girls, who often came in groups rather than on dates.

They danced to such R&B stars as Slim Harpo, Irma Thomas, James “Sugar Boy” Crawford, Dave Bartholomew, Bobby Loveless, Jimmy Clanton, John Fred and the Playboys, and Johnny Ramistella (Johnny Rivers).

At the Acadian Club, students could take advantage of both a swimming and diving pool, a miniature golf course, tennis courts, and much more. Photos courtesy of Sally Meyers.

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“The dances were great,” says Wade Adams, a member in the 1960s. “That’s where I learned social skills, how to dance the Twist, and slow dancing. We’d practice cutting in, tapping some guy on the shoulder.”

On one memorable occasion around 1963, the club brought Ray Charles to the bandstand. “I remember when his bus arrived,” recalls Milou Rubenstein Barry. “Everybody was standing there cheering for him. It was a big deal.”

When the band took a break, Barry slid onto the piano bench next to the musician. “I actually sat and played boogie-woogie with him,” she marvels.

“I had no idea how famous he was and would be. I’m sorry we didn’t have cellphone cameras then!”

Another Saturday-night draw was chaperoned trips to LSU football games.

“We had seats in the end zone,” says Sally Meyers.

“We had five city buses loaded to the gills, with kids hanging out the windows,” says Hickey Poirrier. “After the game, we went back to the club for a dance.”

Poirrier was pool manager in the 1960s and coached the baseball team. “We’d practice, then jump in the pool and swim, then go back and practice some more.”

Daytime events included swimming and diving (the club boasted both a swimming and a diving pool), miniature golf, tennis, volleyball, gymnastics, skeet shooting, archery, and working out in the weight room. Some members recall horse shows on the grounds.

Indoor activities included pool, pingpong, chess, checkers, and card games like Hearts and Bourré. Marti Hall Bell was on the teen board of directors in the sixties. “I got them to allow the girls time in the pool room,” she remembers.

“Before that it was boys only.”

Members could also choose among classes in bridge, sewing, typing, shorthand, speed-reading, art, and “charm.”

“The charm classes taught modeling,” recalls Linda Lynch. “We learned how to walk, how to turn around and come back, how get into a car—butt first, keep your legs together and swing them in.

When we completed the class, we put on a fashion show, walking up and down the staircase in clothes provided by local stores. We changed in the large girls’ restroom upstairs. I was a model in the 1970s and I used the skills I learned at the Acadian Club.”

Lynch also starred in the club’s production of Our Hearts Were Young and Gay. “We had huge attendance,” she said. “I still have my Best Actress award.”

“The plays were quite successful, with both boys and girls trying out,” says director Nancy Jo Poirrier. “Eventually, Dr. Drury built a theater that seated a hundred people. It had a stage, curtains,

lighting. We started doing three-act plays and even musicals.”

Jim Kemp, a member in the 1970s, says the theater had a movie screen. “I helped put reels on the projector.”

Another 1970s member, Connie McLeod, took driving lessons at the club at fifteen. “The teacher Al Tremont said me and my best friend were his worst students,” she says. “He also taught us to do flips on the trampoline.”

Although most remember halcyon days and magical times, it wasn’t all roses. Some members felt left out or snubbed, and the odor of White Privilege was unmistakable. And then there were outright tragedies.

In October 1965, Woodlawn student Skip Varnado was at the Saturday-night dance with his friend and fellow musician Tim Rockett. Tim got a call that his brother Mike had been in a car wreck on Jefferson Highway, not far from the club.

“Half the people at the dance went down there but the police wouldn’t let anyone get too close.” recalls Varnado. “It was terrible.”

The driver, Ronnie Malone, had crashed the Rockett brothers’ Corvair into a utility pole at high speed, and was killed on impact. Mike Rockett was critically injured, but he and the three other passengers survived. “It was a sad time for Woodlawn,” says Varnado.

Two years later, in September 1967, manager Roland Chimento and his wife were asleep in the upstairs apartment when their dog Queenie’s frantic barking woke them. They stumbled out of bed to find that the building was on fire. Grabbing Queenie, they climbed through a window onto the roof of the back porch and leapt to safety.

Three fire trucks raced to the scene, but the club was outside city limits and there were no hydrants. Firefighters drained their pump trucks then siphoned water from the swimming pool. The main building was a total loss.

The club hired architect Roy Haase to build a one-story, air-conditioned brick replacement clubhouse that opened in July 1968 with a Saturday night dance featuring local band Isoceles Popsicle.

Around 1980, the club was disbanded and the property sold to the First Baptist Church, which used it as a recreation center. The church later sold the property to Woman’s Hospital, which demolished the building and in 2003 replaced it with the Woman’s Center for Wellness.

Today Connie McLeod works at Woman’s as a graphics designer. “The Acadian Club was slightly past its glory days when I was a member, but it was still fabulous,” she says. “It was this great safe haven.” h

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Escapes

MAY 2020

3 2 N O W, I O N LY M O V E T O M O V E

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B YW A YS

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Photo by C.C. Lockwood.

T R AV E L

When There’s Nowhere to Go A DESTINATIONLESS ROADTRIP ACROSS SOUTHEAST LOUISIANA

by Jordan LaHaye

A

pril 17 seemed as good a day as any to get in the car and drive.

Anyway, it was the day Fiona Apple’s new album Fetch the Bolt Cutters was to drop, and having been—like most of the world—under house arrest for the past three weeks, waxing and waning between Netflix binges and guilty strains to make something with my time (anything: bread, a poem, a phone call), I hadn’t gotten into my car or listened to any new music in far too long.

It would be a day or so before the reviews raving about Apple’s cataclysmic new work of art started plastering themselves across my timelines, claiming it as a sort of anthem of these strange times, with its gutting emphasis on confinement and the fact that most of the album was largely created in her 32

home, featuring jingles and jangles of household objects as syncopation, and the occasional dog barking.

But on that Friday, upon the clean slate of my empty anticipation, Apple chanted—against a wild and disruptive percussion—again and again through the space of my sedan: “On I go, not toward or away. Up until now it was day, next day. Up until now in a rush to prove.

But now, I only move to move.”

Yes, I thought. Now, I only move to move.

In the paralysis of our current state of being, there is, quite simply, nowhere to go. Travel has been restricted on scales large and small. All events that typically define this spring season—our festivals, our weddings, even our funerals—have been restricted. Restaurants are closed.

Our gyms have shuttered their doors.

Many of us have found our careers halted or reduced. We are no longer able to

M A Y 2 0 // C O U N T R Y R O A D S M A G . C O M

gather with, or even to quietly visit, the people we love.

As we work to fill the space—the overwhelmingly ample time—perhaps we might take advantage of the chance to remember the joy of going, moving, just for the sake of it.

One place that we are still allowed to be is within the confines of our cars, and—by extension—on the road. And, well, gas is cheap these days. So with a thermos of coffee in my cupholder, my sunroof opened, a banana-bread-andpeanut-butter sandwich sitting snugly on my passenger seat, adorned in my favorite sunglasses and road-trip wear (headscarf and all)—I embarked on an adventure to nowhere.

Using Louisiana Travel’s Highways and Byways map as a rough guide, I carved out a loop that would take me through some of the most iconic landscapes of our state, starting from the

Bayou Teche Byway in Breaux Bridge.

Cruising down Bridge Street, under the seventy-year-old bridge with the crawfish mural on top, I passed the historic brick buildings, the antique shops, the old movie theatre that now houses the Teche Center for the Arts, and Café Sydnie Mae. I once bought one of my favorite coats—a vintage felt trench that sweeps the floor when I walk—at a shop here, along with one of those old green suitcases that my dad says aren’t old enough to be “vintage”. The streets were empty, the cars were few. But a quick detour down a sidestreet found the people, sitting out on their porches, sipping their morning coffee.

Turning onto Grand Point Highway, it’s all open space and sprawling sugarcane, a big rambling road that almost drives the car for you. Along for the ride, I tuned into the details of this space, reading off the names of the tiny

farm roads I passed along the way— family names like Aguillard Road and Bordelon Road, Guidry Road and Martha Hebert Road. There’s even a Jolie Blonde Road. In front of me, a woman rolled down her window to wave at a passing pickup truck.

Eventually, I could see I-10 again, and a glimpse of the funky bric-a-brac that is Louisiana Marketshops at the 115. The shop is of course closed, but is happily selling its wares—from handmade Voodoo dolls to bird feeders to books on Louisiana lore—on its Facebook page.

A short wander through the town of Henderson led me to Pat’s Fisherman’s Wharf, where I turned onto the Henderson Levee Road, straddled on one side by Bayou LaRose and on the other

by Bayou Perry—though it’s impossible to see Perry behind the levee rising gently up on the left. And it was just me. Just me and a blue sky and grass as green as green can be. Wildflowers splattered across the leveeside and in the ditches, clustering around the bottoms of electric poles. On my right, a barrier of forest offered only peeks of the bayou water beyond. For a stretch, the road shifted to accommodate only one lane. The clear, bright manifesto of water, trees, grass, and road ran unbroken for miles except for the occasional sign advertising swamp tours or an accumulation of beehive boxes in the shade.

Capturing these tiny roadway gifts, I mulled on the mindset of moving to move, going to go, and the way it offers a perspective often lost in my regular day-to-day processes. By focusing on the journey rather than the destination, I was seeing—really seeing—the moment­, distilled, in all its illustrious detail. For the first time in weeks, I wasn’t allconsumed by the inner walls of my own head. I was able to place my attention on something that didn’t demand it, to simply be alongside the landscapes passing by outside my window.

So, later, when I was driving straight through the center of miles and miles of farmland spilling from the Catahoula Highway, I allowed myself to slow down, to look closer. It’s not a rare thing to see a line of trees marking a barrier to a field, but in this one, they seemed to dance.

Really—the way these oaks bent and reached around the adjacent pines was so intricate it felt intentional. I pulled over to discover a road passing under them, and a sign offering their story.

Oak and Pine Alley, as it is called, was planted by the sugar planter Charles Durand before the Civil War. Legend has it, a family wedding party once paraded beneath, totally canopied in spider webs and dusted in gold. I got back in my car and drove, slowly, down to the end, taking in the eerily gorgeous

knots and whorls of dozens and dozens of century-old trees. At the very end, a sign proclaimed “Private Property”—an accumulation of modest abodes with a driveway fit for royalty. In one yard, I spotted a tent, through which the tops of two little heads were just barely discernible. It looked almost like one was wearing a tiara.

Finally, I landed in St. Martinville, which marked the beginning of my next leg down to Morgan City. I followed the Teche down the tree lined roads to New Iberia, where I recalled the Dave Robichaux-themed tour I took last year for the Books Along the Teche Festival, passing the historic 1891 First United Methodist Church, which I remember featured some of the most fascinating stained glass I’d ever seen; Victor’s Café, right beside the Books Along the Teche bookstore; the Teche Motel, and—of course, The Shadows.

Onwards to Jeanerette, then through Baldwin, then to Franklin. Taking my time down Highway 182, a blue Chevy truck older than me passed me by with the windows down, and I noted the impressive collection of Mardi Gras beads hanging from his rearview. In Centerville, a sign advertising the annual Cast Iron Cookoff bore an orange banner strapped across it, shouting: New Date–October 31, 2020. In between the long driveways marked by wagon wheels at the road, the forgotten-looking shacks, and the newly-built houses along the way, there sat the overseers—the historic icons from which many of these places center their identities: whitewashed, steepled Acadian-style churches and moss-laden antebellum homes—inviting me to visit again and hear their stories, some other time.

The end of the Bayou Teche Byway settles in Morgan City, right atop the Atchafalaya River, and—turns out— you can stand on it. Right in the center of downtown, you can actually climb onto a twenty-two-foot flood barrier known by locals as “The Great Wall.”

Emblazoned with the city’s name, the structure offers a bird’s-eye view of the river and all its traffic. Though a little less than cozy, the spot—devoid of civilians (I wasn’t totally confident I was actually allowed up there, honestly)—offered an ideal leg-stretching, sandwich-eating view. Boats still float in a pandemic, it seems.

Out of Morgan City, I hopped onto Highway 70, another levee road. This part of Louisiana, settled in between the Basin and the Gulf, is seeped in water.

Relics of the amphibious lifestyles lived here are everywhere. I passed a tiny, broken-down shack dwarfed by the shrimp boat living in the bayou right behind it. A mailbox on the side of the

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En route across Louisiana, one can traverse terrains as diverse as levee wildflower fields, roadside bayous, magically mountainous forests, and crawfish-seasoned pasture land, all in a single day. Photos by Jordan LaHaye, except for the top center photo, which was taken by Heather Gammill.

road proclaimed “Captain” in bright red. At certain points, water flowed on both sides of the road—the Little Tensas Bayou and Avoca Island Cutoff.

In Belle River, I had to stop for fifteen minutes while a pontoon bridge was raised, then lowered. While I waited, I observed three old men, each with his own boat, chatting in the parking lot of The Spunky Monkey Daiquiris, which also happens to be a boat launch. In the background, seagulls squawked absently.

On recommendation, I turned off of the highway onto Shell Beach Road, a tight windy path through the underwater forests, the bayous sometimes getting shockingly close to my tires, all dripping with moss and that dark, lush greenery of Louisiana backwaters. Turning onto Lakeview Street, I found myself practically in Lake Verret. The people who live there—in their stilted and over-the-water houses —were out and about, working in their yards, sitting on the back porch, fishing, all with the lake so high and so close you almost can’t help but to touch it.

It’s a neighborhood so precarious and exclusive and private, I felt almost as though I was trespassing—gawking at the old cypress trees that anchored it all.

Back on Highway 70, and moving onto River Road, the landscape shifted

into that ironic southern duality of farms and industry: calves chewing fresh grass against a backdrop of a chemical plant.

The outer villages of the Capital City— White Castle, Allemania, Plaquemine, Morrisonville, Addis, Brusly—they all offered a short repose before thrusting me onto the Horace Wilkinson Bridge, which even in its familiarity struck me— that day—as sublime, scented by the coffee beans roasting down the road and undertrod by barges passing on Ol’ Man River.

From here, I pointed myself to the Felicianas. When you look at a topographical map of Louisiana, this is one of the only terrains with a hill, maybe even two. After a day of flatland jaunting, the rolls and roils of the road to St. Francisville offered a much needed dose of adrenaline and dreaminess. A few miles past the center of town, I turned left onto the Tunica Trace and rolled down the windows. The sun had started its descent by now, though hidden behind a skim of white clouds, giving the towering forests and bundles of flora a dark, European fairytale-esque sheen.

Miles in, I found the entrance to the Old Tunica Road. Not a one-lane road, even though it almost should be—it’s all gravel. The bridge over the Tunica Bayou was basically floating, and I held

Pictured on top from left to right: Henderson Levee Road, Lakeview Street, and Old Tunica Road. Pictured at bottom: my own personal favorite backroad—Miller’s Lake Road, in Ville Platte, Louisiana.

my breath as I crossed over. Around the bend, a basketball goal stood in grass waist-high beside a pile that looked something like a squashed barn.

Continuing on, the borders of the road started to rise until I was flanked by two rising walls of sod and trees and vines and all the creatures that live between.

The trees above reached toward each other in odd, wavering embraces that regardless formed an emerald canopy. As the elevation increased, though, so did the volume of my kinda-sketchy-lately car. After climbing a particularly rumbly hill, I called it and turned back.

At this point, I was tired. But I was at the final stretch. Motivated by the promise of a pepperjack boudin ball in Krotz Springs, I make my way back through St. Francisville, then crossed over into New Roads, then to Melville, landing on homeground—the Zydeco Cajun Prairie Byway. On Louisiana Travel’s map, this route meanders, loops, and trails off in various routes across Central Louisiana (it would take another whole day to do the entire thing). It passes through many of the more remote Cajun and Creole settlements in the state—Port Barre, Chataignier, Eunice, Mamou, Ville Platte—then moves up into the piney woods regions of Bayou Chicot, Pine Prairie, and Turkey Creek,

an area I would pass through the very next day to go fishing with my brother and my fiancé. From here, though, I could take 190 down through Leonville and Arnaudville and land back where I started in Breaux Bridge. But instead, I kept going west on 190.

From this point, I could make it to my parents’ house in Vidrine, Louisiana with my eyes closed. And even though I told myself—considering all my new philosophical musings—that I should actually watch it with new eyes … truth be told it had been a long day. Instead, I indulged in the greasy glory of fried Cajun meats and I let the road take me home, pulsing along with Fiona’s rolling, angsty melodies. “Fetch the bolt cutters, I’ve been in here too long.” h Louisiana Travel’s Highways and Byways Map offers nineteen byway routes from all corners of the state.

During non-quarantine times, staycationers can use the resource as a guide to attractions and restaurant recommendations. For now, though, it stands as a great starting point for anyone wanting a day exploring our remarkably diverse and beautiful state. If you’ve got a favorite highway, backroad, or secret site, we’d love to hear about it! Shoot us an email at jordan@countryroadsmag.com.

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P E R S P E C T I V E S : I M A G E S O F O U R S TAT E

Things Worth Keeping, Forever KEWON HUNTER CAPTURES BOTH THE VIBRANT MOTION OF NOLA AND THE SERENE BEAUTY OF ITS OUTSKIRTS

Photo by Kewon Hunter.

W

eeks after my interview with Kewon Hunter, I still can’t stop thinking about this one thing he said.

Over the phone, the New Orleans artist was describing the memory of his first camera, a Polaroid his grandfather gave him at nine years old. Growing up, Hunter considered his grandfather, the late Charles Williams, his best friend; “I wanted to be just like him,” he said.

Hunter told me he lost the film camera sometime in college. “It’s okay, you’re not meant to keep things forever,” he paused. “But you wish you could.”

You wish you could. In some sense, Hunter’s calling as a photographer reflects this aspiration: capturing, preserving, and keeping moments— memories, forever.

His body of work is a vibrant tribute to a subject historically excluded from the canon—unbridled black joy. Urban scenes profuse with beauty, power, 38

community, and charisma populate his feed. “I just love documenting my people, and I want to capture them in a good light,” Hunter said. “I love to see them beautiful, happy, enjoying themselves. It’s what drives me.”

One particularly New Orleans niche the twenty-nine-year-old is known for is his second-line photography. Through Hunter’s lens, trumpet-playing toddlers, careening highsteppers, and rowdy revelers all appear larger than life, emanating an exuberant energy that feels as though they might leap out of the frame at any moment. Hunter never plans these shoots in advance; it’s a right place, right time kind of deal. Sometimes, the right place happens to be facing the perilously close end of a trombone slide. One of his Instagram captions reads, “If I lose an ear, then I lose an ear.”

Hunter’s preference to shoot right in the thick of things earned him access

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to an event few ever see in person— the elusive procession of the Mardi Gras Indians on Mardi Gras Day, Super Sunday, and St. Joseph’s Day. The Big Chiefs’ jaw-dropping suits are intricate works of art in their own right, colorful, feathered masses set against the modern backdrop of the Chicken Mart parking lot—the ageold traditions of this secret rite taking on qualities both mystical and regal.

“To have those guys trust me and trust my vision and let me be in their place is an honor,” said Hunter, whose favorite holiday is Super Sunday. “It was a beautiful scene because there was so much love and so much hustle.”

While the bulk of his work depicts old school New Orleans, Hunter has a soft spot for the city’s outlying rural communities. He’ll often spend a day driving out to explore towns along River Road, taking film photos of old cars and abandoned buildings or launching his drone up in the air to

capture the surrounding murky marsh of green-brown swampland from above. Hunter’s drone work offers a stunning aerial perspective full of symmetry and contrast.

“Small towns are one of my favorite things to photograph because they remind me of home,” he said. “Home” is Prentiss, Mississippi, a small town deep in the backwoods of Jefferson Davis County. Hunter moved to the Big Easy in 2014, around the same time that he bought his first DSLR camera. “Being from a small town, you don’t appreciate it as a kid. You don’t understand the beauty of it until you’re older.” h

Kewon Hunter is a photographer based in New Orleans, Louisiana. His first gallery show will take place later this year. You can find more of his work online at kewonhunter.photos or via @kewonhunter on Instagram.

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