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King’s Day
Albums, events celebrate 100 years of Clifton Chenier
IT DIDN’T TAKE A LOT TO GET THE CROWD at the New Orleans Jazz & Heritage Festival’s Fais Do-Do Stage to start moving. Almost from the first notes, people were bouncing, and a few couples began dancing to the zydeco music being played.
An all-star band had come together on May 2 to celebrate the life and music of Clifton Chenier, widely hailed as the “king of zydeco” — a claim Chenier sometimes bolstered by wearing a crown on stage.
Blues pianist Marcia Ball and South Louisiana musicians Curley Taylor and Roddie Romero were among the several guests who got the spotlight as the band rolled through songs recorded by Chenier, including “You Used to Call Me” and “My Baby She’s Gone to Stay.”
Clifton’s son, accordionist and vocalist C.J. Chenier led the tribute set, playing a large, black and blue accordion embedded with “Clifton Chenier” in white letters and which had belonged to his father.
“It was my daddy’s main accordion,” C.J. Chenier recently told Gambit. “That’s one he got personalized all those years back. I’ve had it since 1980-something, and he had it way before then, so it’s a pretty old accordion.”
June 25 would have been Clifton Chenier’s 100th birthday, and he’s being celebrated with a tribute album this week, a box set due out this fall and several events. Chenier died in 1987 at the age of 62, but the centennial is bringing renewed attention to his work and legacy.
All of the musicians at the Jazz Fest show appear on the album, “A Tribute to the King of Zydeco,” which is out Friday, June 27, on Joel Savoy’s Valcour Records. The box set, “Clifton Chenier: King of Louisiana Blues and Zydeco,” will be released in November by Smithsonian Folkways and Arhoolie Records, the label that released many of Chenier’s recordings.
The New Orleans Jazz Museum, which currently houses Chenier’s crown and accordion, will host a celebration on Wednesday, June 25, with a listening party for the tribute album, live music and DJs. There also are events planned in Acadiana and Washington, D.C., through the summer and fall to celebrate Chenier.
The Rolling Stones lead off “A Tribute to the King of Zydeco,” playing Chenier’s genre-naming song “Zydeco Sont Pas Sale,” with Mick Jagger singing in French
by Jake Clapp |
Creole. The Stones have rarely, if ever, contributed to this kind of tribute album, and Jagger and Keith Richards have recently spoken about Chenier with The Atlantic and Rolling Stone.
It demonstrates Chenier’s importance and the interest The Stones have had in American blues and folk music, swamp rocker C.C. Adcock told Gambit in the spring. Adcock was instrumental in bringing the British rockers on board and produced “Zydeco Sont Pas Sales” as well as the song “Release Me,” which features Lucinda Williams, Tommy McLain and Keith Frank.
“We all got into a lot of cool music through the backdoor of The Rolling Stones and rock ’n’ roll. And there’s another moment to do that here,” Adcock said. “The Stones being involved and them crowing about it is a way for some kid in Brazil to learn about zydeco and learn about Clifton.”
A 7-inch vinyl with The Stones’ “Zydeco Sont Pas Sale” and Chenier’s original will be released on June 25. Proceeds from the sale of the album also will benefit the Clifton Chenier Memorial Scholarship at the University of Louisiana Lafayette.
Taj Mahal, Steve Earle, Charley Crockett, Steve Riley, Nathan Williams Sr., Jon Cleary, Jimmy Vaughan and others also appear on the tribute album, playing songs like “Hey ’Tite Fille,” “Why Did You Go Last Night?” and “Ay Ai Ai.” C.J. Chenier plays on the song “Hot Rod” and the album closer, “I’m
Comin’ Home,” which he says is one of his favorites by his father.
Joel Savoy and Los Lobos saxophonist Steve Berlin produced the tribute album, and John Leopold, the former managing director of the Arhoolie Foundation is credited as executive producer.
To back the guest artists on the album, Savoy and Berlin brought together Roddie Romero, Eric Adcock, Derek Huston, Lee Allen Zeno, Jermaine Prejean and Sherelle Chenier Mouton (Clifton’s grand-niece).
“It wasn’t about me, it wasn’t about Steve, it wasn’t about Arhoolie,” Savoy said. “Instantly, the weight on my shoulders was, how do we do this right? I felt like there was one right way, and it was to bring as many of the zydeco legacy families onto the project as possible.”
Clifton Chenier was born in Opelousas in 1925, and his father taught him how to play the accordion. As he grew into his own as a regular musician at house parties and dances around South Louisiana, Chenier developed a style that blended French Creole La La music with R&B, blues and other influences. And his 1954 recordings of “Louisiana Stomp” and “Clifton’s Blues” are seen as the earliest recorded examples of the style that would become zydeco.
Chenier won a Grammy Award in 1983 for his album “I’m Here!,” and the National Endowment for the Arts named him a National Heritage Fellow the next year. Chenier died in December 1987 from complications from diabetes and kidney issues.
C.J. Chenier, who began playing with his father when he was 20, took over leadership of Clifton’s band after his passing. C.J. continues to perform regularly with The Red Hot Louisiana Band.
“I’m extremely happy that he’s getting the recognition that he’s getting,” C.J. says. “I wish he would have gotten that much attention when he was still here. But I’m happy for him right now that people are showing so much respect and so much attention. For me, it’s my dad’s 100th birthday.”
Find “A Tribute to the King of Zydeco” at linktr.ee/valcourrecords.
Bobby Rush
It wasn’t until 2017 that Bobby Rush finally collected a Grammy Award. A host of New Orleans musicians backed him on “Porcupine Meat,” which won Best Traditional Blues Album that year. The Homer, Louisiana, native had spent years in Chicago before moving back to the Delta, and he’s released more than 300 songs, mostly blues and R&B, and often reveling in sexually suggestive lyrics. Now the awards keep coming, with two more traditional blues Grammy’s for 2020’s “Rawer Than Raw” and 2023’s “All My Love for You.” In March, he and Kenny Wayne Shepherd released “Young Fashioned Ways.” Rush sings and tells stories at 9 p.m. Thursday, June 26, at Chickie Wah Wah. Tickets $51.62 via chickiewahwah.com.
Stephen Marley
The second son born to Bob and Rita Marley, Stephen Marley grew up in the family business, joining the Melody Makers at the age of 7. He played with the Melody Makers while his brother Ziggy led the band for years, and he went on to release solo albums starting with the well-received “Mind Control” in 2007. He also has collaborated with many performers outside of the reggae world, including the Fugees. Marley’s most recent solo release was 2023’s “Old Soul.” He’s on tour celebrating the 80th anniversary of his father’s birth. Omari Neville & the Fuel also performs 7 p.m. Thursday, June 26, at House of Blues. Tickets $45 and up via ticketmaster.com.
United Houma Nation Powwow
The United Houma Nation has nearly 20,000 members spread across six parishes. Its annual powwow draws members of other tribes from around the nation to participate in traditional dances and dance competitions for different age groups. The powwow
PHOTO BY SCOTT THRELKELD / THE TIMES- PICAYUNE
Clifton Chenier
PHOTO BY REED & SUSAN ERSKINE / PROVIDED BY RALPH RINZLER, FOLKLIFE ARCHIVES AND COLLECTIONS
OPENING GAMBIT
Trans rights are human rights!
THUMBS
UP/ THUMBS DOWN
Thousands of New Orleanians turned out on June 14 for the pro-democracy No Kings protest march and rally. Organizers of the local event, one of hundreds taking place on the same day across the U.S., estimated more than 6,500 people marched through the Marigny without incident. The event happened to take place on the same day as Pride, and in New Orleans fashion, there were plenty of colorful costumes, dance teams, creative signs and brass bands.
1,500
THE TOTAL NUMBER OF BALLOTS PROVIDED TO REGIONAL POLLING STATIONS JUNE 14 TO DETERMINE A BOARD SEAT FOR THE SOIL AND WATER CONSERVATION DISTRICT.
But the election came under scrutiny as voter turnout was much higher than anticipated, and hundreds of voters were unable to cast votes after ballots ran out. The Crescent Soil and Water Conservation District issued an apology and said in previous elections, less than 200 people cast votes.
The Louisiana Freedom Caucus, which includes far-right members of the state legislature, issued an infuriating “public service announcement” ahead of the June 14 No Kings protests pointedly reminding people state law provides broad protections for drivers who run over protesters “when in fear for their lives,” such as when protesters block public roadways.
Louisiana hospitals are sending unhoused to New Orleans shelters that often can’t
care for them
LOUISIANA HOSPITALS FROM AS FAR AWAY AS MONROE ARE REGULARLY DROPPING DOZENS of unhoused people a month at New Orleans shelters unequipped to meet their often critical medical needs, according to officials with at least two of the city’s biggest shelters.
During a City Council hearing June 16, Ozanam Inn CEO Renee Blanche bluntly warned “we are constantly having to send people back in an ambulance to hospitals because we cannot take care of them.”
She estimated that about 100 people stay at the shelter in a given month. In May, 68 people came to the shelter from outside of the city, including 38 people from Louisiana and 30 from outside the state.
The latter includes people who’ve arrived at the shelter directly from out of state and people who’ve lived in Louisiana for a short time, either on the streets or elsewhere, before coming to the shelter. Blanche said the shelter needs more money to help these individuals.
Louisiana ranks 49th in the nation for overall child well-being and 50th for child economic well-being, according to the Kids Count Date Book. The project tracks the health and well-being of kids across the U.S. The study found that a quarter of Louisiana children live in poverty and almost a third have parents without full-time, year-round employment, creating economic instability for kids.
Blanche told Gambit hospitals send around 25 people to Ozanam Inn a month, and that shelter staff end up sending around seven people back because they don’t have medical staff or equipment on site to care for them.
In the last month and a half, almost all of these individuals have been from outside Orleans Parish, including many from Jefferson Parish, which does not operate shelters, but some have come from as far away as Monroe, she said.
Additionally, most of the people that stay at Ozanam Inn come from outside New Orleans, Blanche said.
“We get some funding from the city of New Orleans, but that’s it,” she said. “We don’t get anything from Jefferson Parish ... and they send a lot of people here. We don’t get anything from anywhere else in the state, nothing from the state government.”
New Orleans City Council Member Eugene Green said at the committee meeting these facts underscore that homelessness in the area is a state problem, not just a city problem. He said state leaders need to “step up” and give the city the resources it needs to address the issue, rather than criticizing city leadership.
17.7%
C’EST
Erica Johnson, an urban farmer in New Orleans, won re-election.
Beds at Ozanam Inn
PHOTO BY BRETT DUKE / THE TIMES- PICAYUNE
“If we get dumped on by the state in terms of the rhetoric that is used and then we get imposed upon by those who are outside the city with no limit, we’ll never be able to catch up,” he said.
At the same time, Green criticized the makeshift shelter the state set up in Gentilly earlier this year to move unhoused people off downtown streets ahead of the Super Bowl as “something that was done in an irresponsible manner.”
He said the $17 million the state spent to keep the 200-person shelter open for three months could have been used to house more people for longer through the city’s Home for Good housing program. That program has housed 1,133 people as of the end of May.
Green also said 55 people left the Gentilly warehouse and “were sent back to the streets without any communications with them.”
“The city would have never done something along those lines,” he said. A systemic issue
Other low-barrier shelters in the city are also seeing hospitals send people their way.
“It’s often very vulnerable people who often shouldn’t even be released from the hospital yet,” said David Bottner, CEO of New Orleans Mission.
Blanche said hospitals send people in a variety of vehicles, including ambulances, medical transport vehicles and rideshares. Police also may drop people off at the shelter. In some cases, the people “have no idea they’re going to a homeless shelter,” she said.
That creates a chaotic situation, especially if the people coming from the hospital arrive in the middle of the night.
Sometimes, Blanche said they’ll send someone back to the hospital who they don’t have the medical resources to care for them, only to have the hospital send them back to the shelter.
“Oftentimes, it’s a yo-yo. We send them back. They send them back. We send them back. They send them back,” she said. “It’s not a great system.”
Blanche said the shelter asks hospitals to call before sending people to the shelter to avoid the back and forth, which can put further strain on the unhoused individuals with medical needs.
“Sometimes that happens,” she said. “Sometimes it does not.”
Lack of options
One of the problems is that there aren’t many homeless shelters in the area outside of New Orleans — and even fewer low-barrier shelters.
Jefferson Parish, one of the biggest parishes in the state, does not have any homeless shelters.
The “Homelessness Solutions” page on Jefferson Parish’s website says the parish’s Department of Community Development coordinates with nonprofit UNITY of
You’re free to live your lifeout loud! Becauseyou’ve gotthe compassion of thecross,the security of the shield, andthe comfortofBluebehind you.
A bus drops off people at the temporary unhoused warehouse Jan. 15, 2025.
PHOTO BY SOPHIA GERMER / THE TIMES- PICAYUNE
Greater New Orleans. It directs people to the department’s phone number but gives no further information.
There aren’t many options on the Northshore or other surrounding areas either, which is why Ozanam Inn sees people from those parishes as well as St. Bernard, Tangipahoa, Rapides, East Baton Rouge, Livingston, Washington and other parishes.
Mandy Chapman Semple, a homeless system expert with Clutch Consulting, told the council committee Monday that the current homeless response system is not set up to care for unhoused people with medical needs. Some may need temporary institutional or rehabilitative care, while a small number may be better suited for a permanent assisted living environment.
Though they make up a small percentage of the homeless population, they are one of the most vulnerable groups.
Semple said a working group has been formed and that a complex needs team is working on these cases. However, she said a more formal group needs to be established to connect people in need with care environments.
“These are our most complex cases, and it can feel quite overwhelming on the streets when we encounter an individual that is in such severe crisis and has so much need, knowing that the homeless response system is not equipped to be the care environment for these individuals,” she said.
Meanwhile, Semple said in the beginning of 2025, the city’s Home for Good program has overall been able to ramp up how quickly it’s able to move individuals from shelters to more permanent housing.
What is needed, she said, is not more shelter beds, but rather more resources and funding from the state to get people into housing.
Despite the need for more longterm solutions, Republicans and even some Democrats in the state legislature have only sought to criminalize, punish or pushout the unhoused. For instance, this year the legislature considered two bills, neither of which would have significantly addressed long-term housing needs.
The first, by Slidell Republican Sen. Robert Owen was a punitive measure that would criminalize being unhoused in the state and would have created prison sentences for unhoused people. The second, authored by New Orleans Democratic Rep. Alonso Knox, wouldn’t technically criminalize being unhoused. However, it would force local governments to enforce bans on camping in public spaces and would create a mechanism for governments to be sued by individuals or businesses to force them into compliance.
The bill would have allowed cities like New Orleans to set up temporary camps, but only if they meet restrictive conditions, including not affecting property values. Those rules would essentially rule out most of Orleans Parish aside from hard to access spaces. Neither measure was approved by the legislature.
Semple said having both city and state funding will allow the program “to sustain this pattern and eventually completely eliminate sleeping in the inner core (of New Orleans), which we’re ready to do very soon.”
— Kaylee Poche
Council Member Eugene Green
PHOTO BY SOPHIA GERMER / THE TIMES- PICAYUNE
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Hey Blake,
One of the new art installations on the Sheraton Hotel on Canal Street features Scrim the dog sipping a soda above the word “Waterbury’s.” The word “Waterbury” is also in the building’s facade. What’s the story?
Dear reader,
WATERBURY’S, FAMOUS AS AN ALL-NIGHT DRUG STORE AND SODA FOUNTAIN, was a landmark in the 500 block of Canal Street for 54 years. Carl Waterbury opened the store bearing his name in 1930. One of his first hires was pharmacist Avit Cancienne, who bought out Waterbury nine months later. The drug store’s location on the edge of the French Quarter meant its 24-hour clientele came from all walks of life. States-Item reporter Joan Kent described what she saw one night in 1979: “Through the door passes every sort of humanity – women in fur coats and ball gowns, men in Salvation Army jackets, drunks of all social strata, stoned ’60s hippie types, seamen from their docked ships and country people, some in full cowboy regalia.”
Many of the employees mentioned in that story had worked there almost since day one, including at the soda fountain, a place many couples went after visiting Canal Street movie theaters in the 1940s and ’50s. “They came in for malted milk and cookies, which we sold for 15 cents up through the ’50s,” said owner James Ford in a 1984 Times-Picayune/ States-Item article. “We had banana splits for 35 cents and
we kept coffee at a nickel a cup until 1955.” The soda fountain closed in 1978.
In 1935, a second Waterbury’s opened at 1036 Canal St. at the corner of Rampart Street. It was also open 24 hours a day. In 1937, a third store opened at 1632 Dryades St. (now Oretha Castle Haley Boulevard), while a fourth store followed in 1957 on Harrison Avenue in Lakeview.
The Waterbury’s in the 500 block of Canal closed in 1984. By that time, the Sheraton New Orleans Hotel had opened next door. The former Waterbury’s location sat vacant until 1989 when the Sheraton won City Council approval to demolish the building and expand its hotel property.
The Sheraton’s art installation by artist Bryan Brown — featuring Scrim and his four-legged friend Tiffany sipping a Waterbury’s nectar soda — is part of the Windows on Canal art project.
SUMMER IN NEW ORLEANS WOULD BE LESS TOLERABLE without ice cream, snowballs and other sweet cold treats. One of them from the past was Chelsey’s Frozen Custard.
Legendary chef Warren Leruth, who became famous for his West Bank restaurant LeRuth’s, introduced the concept in 1985. Chelsey’s was named for his granddaughter.
“Frozen custard is the same ‘original French style’ ice cream made in the early 1900s, then all but forgotten,” according to a 1988 newspaper ad. “It’s nothing more than velvety cream, farm-fresh eggs and all natural ingredients churned into satiny smoothness every hour, every day.”
The original location at 2400 Lapalco Blvd. in Harvey offered frozen custard in chocolate and vanilla flavors, as well as many other rotating varieties, including strawberry, Creole cream cheese, butter pecan, Heath bar and more.
In 1989, Pratt Landry, who had helped develop and manage the restaurant, purchased the Harvey location as a franchise from Leruth, who sold Landry the entire business in 1992. Another Chelsey’s opened in Metairie and there were plans to expand, but the entire business was closed by 2001.
An art installation by Bryan Brown shows Scrim and his friend Tiffany sipping a Waterbury’s nectar soda PHOTO BY DAVID NOLA PHOTOGRAPHY
Oh M Y Y M
THE F ORGOTTE N HISTORY OF HOW NEW ORLEANS’
Black drag queens HELPED SHAPE ROCK ‘N’ ROLL
BY QUINN BISHOP
PRINCESS LAVONNE never wore heels. Not as a statement on 1940s fashion, mind you. Rather, it was a practical decision: One of her legs was longer than the other. Ever the entertainer, Princess Lavonne never let it stop her from taking the stage on the Black Vaudeville circuit, where she performed as a female impersonator and singer.
Born Richard Penniman, Princess Lavonne’s father kicked her out of his home when she was only 13 for being too flamboyant and effeminate. In his history of the impact of the LGBTQ community on popular culture, “The Secret Public,” journalist Jon Savage notes Penniman’s father called him “only half a son.”
Penniman would soon find himself on the Black Vaudeville circuit, performing first with Dr. Hudson’s Medicine Show and then Sugarfoot Sam’s minstrel show. It was there that Penniman would find kindred spirits among the performers — and begin concocting his drag persona.
It was also when Penniman would fall in with two of the biggest influences in his life. While performing with Sugarfoot Sam’s show, he met Billy Wright, an openly gay performer who’d built his career performing as a female impersonator in the medicine shows before he found mainstream recording success with his song “Blues for My Baby.” In him, Penniman found a mentor.
The Vaudeville circuit would quickly bring Penniman to New Orleans, where he’d find a
home away from home at the Dew Drop Inn and fall in with a cast of influential Black drag queens.
Like the rest of the country, and in particular the South, New Orleans wasn’t a haven for queer and Black people. Police regularly raided clubs, bars and coffee houses that catered to queer people or refused to comply with segregation norms. Meanwhile, violence from racists and homophobes was a constant threat.
But despite the real and present dangers of being Black and gay during the height of Jim Crow, New Orleans’ Black drag queens and female impersonators carved out a space for themselves in the city.
Black drag queens in New Orleans were major innovators of the style, aesthetics and sound of nearly every musician working today. They stepped into a long legacy of queer performers in the city and built local celebrity during one of the most turbulent times for gay people in U.S. history.
While the many roots of rock ‘n’ roll, and the history of music is impossible to trace to a single location, the contributions of New Orleans’ Black female impersonators cannot be overstated.
And that starts with their influence on Penniman, who was on the cusp of coming into his own and permanently altering music, style and culture on a global scale as Little Richard. New Orleans has always been on the cutting edge of music culture in the U.S., and queer
Bobby Marchan FILE PHOTO BY TYRONE TURNER Club My-O-My FILE PHOTO BY RALPH URIBE
people have played a vital role in that influence from the beginning. Despite intense discrimination against queer people at the turn of the 20th century, queer musicians like Tony Jackson were front and center during the earliest years of jazz, sharing stages with the likes of Buddy Bolden and Louis Armstrong.
Jazz musicians regularly played in Storyville bordellos, which would often feature “French shows” — a euphemism for live lesbian acts, according to queer historian Frank Perez.
There were also jazz clubs which were known to be relatively safe spaces for queer people, including drag queens, like Frenchman’s at Bienville and Villere.
Ma Rainey, the “Mother of the Blues,” who also helped shape what would become rock ’n’ roll, launched her career from New Orleans. Rainey was one of the few out lesbians in music at the time and openly talked about it in her lyrics. For instance, in her classic “Prove It On Me Blues,” Rainey sings:
I went out last night with a crowd of my friends, It must’ve been women, ‘cause I don’t like no men.
Wear my clothes just like a fan
Talk to the gals just like any old man.
Jazz or blues performers regularly worked alongside drag queens, gay men and lesbians, often performing acts on the very same stages. But it was in the 1920s and ’30s when New Orleans’ drag culture would begin to truly blossom. Clubs for drag performances began to open during this time, though they were limited to a white clientele. According to Tulane professor Thomasine Marion Bartlett, one of the first drag clubs in the city was the Powder Puff.
Located initially in the back of the Standard Fur Company, the Powder Puff would eventually become the Wonder Club when it relocated to Metairie’s lakefront. There were a number of gambling halls along the lakefront, and the police were essentially turning
a blind eye to the area. That gave anyone looking to open a drag club at least some amount of protection, though police remained hostile and did harass performers and others on a regular basis. However, the Wonder Club’s heyday was short-lived as it would soon be eclipsed by the much bolder Club My-O-My.
Opened in the 1930s, the My-O-My purportedly got its name when an elderly woman shouted “my oh my” after overhearing a conversation about what the owners planned for the club.
The My-O-My quickly became the destination for drag performers and audiences and boasted a huge roster of performers, including host Jimmie Calloway and headliner Gene La Marr, a male soprano who shocked crowds by hitting high notes while performing arias and closing out his numbers by tossing his fake breasts into the audience.
To avoid arrest, the queens were required to list “Mr.” before their names to avoid confusing the audience, and on
any given night a host of “misters” like Mr. Dale Leslie the stripper, Mr. Desiree “The Original Cat Girl Mimic,” Mr. Sandy Rogers “The Reason Gentlemen Prefer Blondes,” and others would perform. The club targeted a largely heterosexual, tourist clientele who at the end of an act would pelt the queens with coins that would be swept up at the end with a broom and dustpan.
Though technically illegal, management required the queens to flirt with the men in the audience, sit in their laps and ask them for drinks. Legend has it that Al Capone’s brother once yelled “If you was a woman, I’d marry you” to one of the performers. After hours, queens would often also book private sessions with clients.
While the performers could exist openly inside the bar — and the clubs themselves were largely tolerated by the police — it was still dangerous for performers to come and go. The police would often stalk the exits, attempting to grab anyone who stepped outside without first shedding the drag.
Frank Early’s Saloon, where Tony Jackson and others played
PHOTO BY JOHN MCCUSKER / THE TIMES - PICAYUNE
Club Desire
PHOTO BY KATHLEEN FLYNN / THE TIMES - PICAYUNE
A matchbook from the Wonder Club
PHOTO BY SOPHIA GERMER / THE TIMES - PICAYUNE
Meanwhile, segregation was strictly enforced, meaning Black performers weren’t even allowed in the first clubs to open. That forced Black queens in New Orleans to find their own spaces. The first recorded female impersonation club was Miss Big Nelly’s in the 1890s. The performers used names such as Lady Fresh, Chicago Bell, Lady Beluah Toto, Mammy George, and La Sylvester. In his book “Storyville, New Orleans: Being an Authentic, Illustrated Account of the Notorious Red Light District,” historian Al Rose describes Miss Big Nelly’s as home to “large-scale, noisy interracial functions.”
From the 1920s to the 1940s, there was also a thriving spin off of the Baby Dolls called the Million Dollar Dolls, all of them Black Drag queens. In 1931, the King of Zulu elected a female impersonator named Corinne as his queen, according to the late Robert Tallant.
But it would take 40 years before another club would open where Black queens could perform. In 1931, the
Gypsy Tea Room — later called the Caledonia Inn — opened in Treme.
The name Caledonia could be a nod to the Louis Jordan song by the same name. The song includes lyrics like “walkin’ with my baby, she got great big feet” and “what makes your big head so hard” which themselves could have been meant as a nod toward sleeping with a drag queen, though it is unlikely the lyrics were from Jordan’s personal experience since it was written by his wife.
The female impersonation shows at the Caledonia were competitive and known to be some of the best in the city. They attracted wide audiences including white gay men who would often be pulled out of the bar by the police.
The Caledonia would also launch the career of Professor Longhair, who remembered playing for a gay wedding in the space, as recorded by WWOZ in “Caledonia Inn: A Closer Walk.”
The Caldonia was where a young Patsy Vidalia would begin her career as a female impersonator along with the
Little Richard FILE PHOTO
PHOTO BY DANIEL ERATH / THE TIMES - PICAYUNE
other Vidalia sisters — ultimately going on to popularize the now legendary Dew Drop Inn.
“Vidalia” was a reference to the local sex industry. French Quarter Madame Norma Wallace had named her dog Vidalia, which also became widely used as slang for a john.
The Vidalia Sisters performed at Club Desire in the 9th Ward, and Patsy was the clear star of the trio. One night at Club Desire, Frank Paina was in the audience and made a bet with a friend that Patsy was a cisgender woman underneath it all. He lost.
He was so impressed he hired her to host the shows at his struggling club, the Dew Drop Inn. It became one of the best decisions of his career. Patsy Vidalia would become the primary attraction, bringing people to the club.
Vidalia would scour the streets in the wake of parades for glass beads that she would smash with a hammer. She used the glittery debris to create costumes and shoes that were uniquely hers. The shows at Dew Drop always opened with her singing “Hip Shakin’ Mama” but would drop the vocals to riff with the audience. In an interview with Jeff Hannusch for “The Soul of New Orleans,” Irma Thomas remembers Vidalia mentoring her on stage presence, makeup and costumes, offering her “Hip Shakin’ Mama” to jump start her career. Few could tell she was a female impersonator until she outed herself in the middle of the act. When she did, it was not uncommon for someone to
heckle her. But her biting wit left them fleeing to the back of the bar with their tails tucked between their legs, with the audience cheering.
“Be careful with me,” she would say. The audience quickly learned not to mess with her, as she could turn any crowd in her favor. Quite a few men would follow her upstairs after the show and hook up in her standing hotel room.
She recorded two songs under the name Pat Valdelar, “Baby, Rock Me” and “Keep Your Hand On Your Heart.” In the live performances of the latter, she would grab her crotch and encourage all the men in the audience to join her.
Another female impersonator, Bobby Marchan also was offered a room, creating a friendly rivalry with Vidalia.
Marchan’s female impersonation was so effective, he was offered a record deal under the false impression he was a woman. When he showed up to Ace recording studio without the drag, the label was shocked but followed through with the record. They released “Give a Helping Hand” under the pseudonym Bobby Fields.
The rival Club Tijuana discovered Marchan at the Dew Drop Inn and offered him the role of emcee. This move was clearly inspired by Vidalia’s breakout stardom, which escalated the rivalry to new heights.
The battle for best female impersonator in New Orleans was the highlight of every Halloween at the Gay Halloween Ball. Vidalia had a tendency to blow a gasket if anyone placed above her.
Ever the diva, she once demanded the manager kick a winning queen out of the bar and pass the title on to her. He didn’t. Her threats to walk proved to be empty.
Vidalia never achieved much success outside of New Orleans. Some say she had simply watched the rise and fall of too many one hit wonders to risk becoming one herself.
But she rubbed shoulders with some of the most important musicians of the century such as Ike and Tina Turner, James Booker, Otis Redding, Ray Charles, Etta James, Allen Toussaint, and of course, Little Richard.
And through her perseverance, Vidalia broke the color line in the 1970s. After the Dew Drop Inn closed the nightclub shows, she became the first Black queen to perform at the Club My-O-My and quickly took over as the host.
But when the club shifted to a Bourbon Street location, it could not compete with the bolder and wilder drag shows rising with gay liberation in the city. She would spend her final days
taking care of her mother, leaving drag behind and attempting to work as a nurse’s aide.
Many of the drag performers in New Orleans found widespread success. Marchan toured with Huey Smith and went on to own multiple record labels.
A young Sir Lady Jay performed as a singer and dancer at multiple New Orleans clubs in drag as a teenager. She was completely supported by her mother who had allowed her to transition in the 1950s. She would go on to be a featured performer and emcee in Los Angeles where she would introduce acts such as Richard Pryor, Sammy Davis Jr, and Redd Foxx.
When the city of Los Angeles tried to shut down her shows, she called the ACLU. Though her case was unsuccessful, she was among the first transgender women to fight for her right to employment.
Little Richard may have been the one who brought this culture into the public eye, but he also played a major role in erasing history. In 1958, he quit rock
Tony Jackson FILE PHOTO
Sheet music to Tony Jackson’s “Pretty Baby” FILE PHOTO / LIBRARY OF CONGRESS
’n’ roll and instead formed the Little Richard Evangelistic Team.
Predictably, he was regularly engaging in gay activities in private. He was arrested in 1962 for spying on men in a bus stop bathroom in California.
Throughout his life, he struggled to reconcile his Christianity with his sexuality. He would claim, “God gave me the victory. I’m not gay now, but, you know, I was gay all my life,” in a 1982 episode of David Letterman. He returned to music later, keeping his practices ambiguous and the role of drag in his early career a secret, if an open one.
Little Richard’s mentor Eskew Reeder was a regular performer at Dew Drop. Flamboyance was vital to the act, from lipstick to a stacked pompadour. Wearing brightly colored suits, he would dance his fingers across the piano. Reeder was openly gay on and off stage. Reeder often performed under the alias Esquerita, a character he claimed was channeling a musical spirit called the “Voola.” At the Dew Drop, his drag persona was Fabulash.
His piano skills allowed him to tour not only with Little Richard, but with James Brown and Screamin’ Jay Hawkins.
Reeder was last seen on the streets of Brooklyn scrubbing windows for tips. His father says he passed away from AIDS complications. Long forgotten was his role in shaping the rock and pop music of today.
Despite the vibrant history of Black drag queens and rock ‘n’ roll in New Orleans, few physical venues central to it remain today.
In 1971, the City of New Orleans used eminent domain to rip the Caledonia Inn out from under its owners, claiming to want to build a cultural center in its place. Before the bulldozers came, Rebirth Brass Band held a funeral for the old drag club. Women dramatically faked crying fits at a second line. It all climaxed when the crowd threw a coffin containing a dummy into the Caledonia Inn, smashing the windows. They paraded to a new location.
The city bulldozed the inn, and the female impersonation nights largely
died with it. In its current location, all that remains is an abandoned lot. The same is true of the old Club Tiajuana and Club Desire, sacred sites in music history left overgrown with weeds serving no purpose in the present.
The Dew Drop Inn closed in 1970. There were unsuccessful efforts over the years to reopen it, until new ownership reopened the hotel and venue last year. They offer a weekly tribute show and have a small museum. There are rooms named after both Marchan and Vidalia, and a small museum celebrating the club’s history.
However, the legacy of New Orleans’ Black drag queens in the 1950s lives on in the entertainment of today. The trends they started broke into the mainstream even as the gay aspects sunk to the background.
Black drag queens had been pushed into traveling shows at the absolute margins of society. New Orleans provided the first steps into the mainstream, and they seized the opportunity to help create a new world.
David Bowie is often credited with bringing glam and androgyny into rock music, but he was simply restoring gender bending to its rightful place in rock. As the music spread, even the most heterosexual bands collaborated with gay managers. With each successive subgenre of rock, queer people would continue to play prominent roles, as documented in Jon Savage’s “The Secret Public.”
Rock ’n’ roll would spark a countercultural revolt against the stiff and proper norms of the 1950s. If the music can’t be credited as the spark of the first waves of queer resistance in the early ’60s, it was at least the soundtrack.
Whenever a male musician slips into a sparkling catsuit and flips across the stage, he is walking in the heels once worn by queens who called New Orleans their home.
Quinn Bishop is a writer, performer and queer history of New Orleans tour guide.
The Dew Drop Inn
PHOTO BY CHRIS GRANGER / THE TIMES - PICAYUNE
AGES 3-9 YEARS
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EAT + DRINK
Nerding out
Burger Nerds serves
FORK + CENTER
smashburgers in Uptown and Metairie by
ALFREDO “FREDO” MANZANARES
HADN’T PLANNED TO LAUNCH a successful burger business. But when the pandemic triggered kitchen layoffs across the city, he lost his job cooking at Tito’s Ceviche, and 2020 became the year of Burger Nerds.
“I saw how big the burger trend was going, so I decided to go for it,” says the chef, who started popping up with the concept all across town in 2021.
Famous for its queso burger, Burger Nerds rotated through the bars and cafes that were open, from Parleaux Beer Lab in Bywater to Holy Ground Irish Pub in Mid-City and Mawi Tortillas in Metairie. His last stint was two years at Courtyard Brewery in the Lower Garden District before he opened his first brick and mortar restaurant at 805 Homestead Ave. in Metairie at the end of 2024.
The 30-seat restaurant did such a bang-up business that he opened a second 40-seat location at 7537 Maple St. in late March. Both restaurants are covered in eye-popping graphics, with his trademark burger photo bombing pop art images of Waldo, Pokémon and the Ninja Turtles. Business is good, with the Metairie location catering to families and the lunch crowd, and the university neighborhood spot serving more college kids.
The Maple Street space was formerly home to the beleaguered vegan restaurant Kindred, which closed in December 2024 before its recently shot episode of “Kitchen Nightmares” aired. Besides a plant-based burger option, there’s not much vegan fare to see here now.
Griddled smashburgers fly out of the kitchen in singles, doubles and triples, slathered with his proprietary Nerd sauce and dressed with grilled onions, pickles, lettuce, tomato and house-made queso on a Martin’s potato roll.
“It really started with the queso burger,” Manzanares says. “For me, it was like, ‘Dude, why is nobody putting queso on burgers?’ I toyed around
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Beth D’Addono
with it, and it tasted too good.”
There also is the classic version, dressed and topped with American cheese. He plays around with specials too, like the half-pound, thick pub burger with sharp cheddar. “It’s seasoned differently, an entirely different burger,” he says.
Manzanares says there’s nothing top secret about his recipe for success, except everything is particular. Everything is made from scratch, he says, and the smashburger patties used certified Angus chuck.
For the beef averse, there’s the menu’s real sleeper: the chopped chicken sandwich, served with either queso and salsa verde or the spicy Buffalo version with provolone and ranch.
“That’s my mom’s chicken marinade, citrusy, so much flavor,” he says.
Beyond the popular fries with queso, Nerd sauce and bacon, the fried Brussel sprouts are another surprise. Manzanares uses Japanese flavors for those, including smoky okonomi barbecue sauce and furikake seasonings.
Besides soft drinks, there are made-to-order milkshakes and soon, a burger’s best friend, ice cold beer — once his license is finalized.
Manzanares’ family has roots in Nicaragua. His parents moved to New Orleans from Los Angeles when he was six months old.
Raised in Bucktown, he got his first kitchen job — washing dishes for cash — when he was 13. He started in the culinary program at Delgado Community College, but when he saw how much apprentices got paid, he just started working full time.
“I needed to be paying bills, so I put school on the back burner,” says the chef. “Really, I never looked back.”
Email
Radosta’s traditions
BY 5:30 A.M. WAYNE RADOSTA IS AT
THE RESTAURANT that bears his family name, Radosta’s Po-Boys. He receives the day’s bread from La Louisiane Bakery and starts cooking the sirloin tips and gravy for the roast beef po-boys, like he’s done for the majority of his 73 years.
A little later in the morning, his brother Don Radosta arrives, and the pace quickens as the 71-year-old starts ramping up the kitchen for lunch service.
The Radosta brothers have been doing this for a half century, ever since their parents opened shop on this Old Metairie backstreet in 1975.
Last week, the family and its many fans were celebrating the 50-year anniversary of the business.
So were Sandy and Rob Case, the couple who bought Radosta’s from the family in 2022 and who today continue to work with them in an unorthodox arrangement that is all New Orleans heart.
“Radosta’s making it to 50 years, that’s their story. They’re the ones who made it what it is,” Rob says. “I’m just really glad we have a chance to carry it on with them.”
When a restaurant changes hands, it’s common for the previous owners to stick around, usually for a few months, in a consulting capacity. This is different.
The Radosta family handed over the keys and the recipes and believed they were done. That did not last very long.
Chef Alfredo Manzanares serves smashburgers at Burger Nerds.
PHOTO BY MADDIE SPINNER / GAMBIT
Wayne Radosta with a roast beef po-boy.
PHOTO BY CHRIS GRANGER / THE TIMES- PICAYUNE
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Seafoodstuffedredfish with seafoodcreamand
Smoked braisedporkshank in tomato Demi over smotheredcabbage with candiedsweet potatoes
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“Retirement sucks,” says Don Radosta, known in the kitchen as “Capt. Chaos” for the barreling energy he brings to his work.
to newer spots like Station 6 in Bucktown. Taking on Radosta’s has been different.
“For the first month, I literally just stood in the corner of the kitchen and watched these Sicilian brothers screaming at each other like they’ve done for 48 years,” Rob says.
Alligator kickers with housemade remoulade FriedThaichilli rib appetizer
Chickenpot pie with asidesalad
Shrimpcreole with friedcatfish
Radosta’s is the life that Wayne, Don and his wife Joan have known. After they cashed in their nest egg and relieved their financial responsibilities, they found they still wanted the good part — the people, the place, the social outlet and the rhythm of their family business.
“It’s something that’s in your heart, and we missed it,” Joan says.
“It’s very satisfying to see a smile on someone’s face, to hear them say ‘that’s the best roast beef,’ or ‘you just treat us like we’re family.’ ”
Within months, they were back. Wayne and Don work in the kitchen, while Joan often trades off with Sandy at the register, taking orders, talking with customers and hollering back to guys in the kitchen.
The family story behind the shop reaches back much longer than 50 years. The brothers’ grandparents started out with a grocery in New Orleans, Radosta’s Fine Foods, at the corner of Claiborne and Carrollton avenues, perhaps as early as the 1930s. It was one of countless Italian groceries that dotted the city.
In 1975, the brothers’ parents, Jerome and Rosemary Radosta, followed the growth of the suburbs and relocated the store to Old Metairie.
Wayne and Don are two of seven brothers. For more than 40 years, they worked the business with another brother, Mark, who is now retired.
The Cases are officially the owners, sort of the bosses but also inarguably students learning from the Radostas. It’s been about spending time together, learning house customs and absorbing the institutional knowledge of a long-running joint.
As shopping habits changed from corner groceries to supermarkets, the shelves at the old store gave way to more room for tables.
“This is a traditional generational neighborhood po-boy shop, and they just don’t exist like they used to. That’s why we want to keep it like it is,” Rob says.
The menu remains a roster of house creations that have accrued over time and old New Orleans classics that have simply endured, like the split pea soup.
The character and flavor of many New Orleans area restaurants run through family. How do they continue as the families behind them get older, and as the trends and pressures around the business change?
At Radosta’s, the owners’ children chose career paths outside the restaurant world. As retirement age neared, the family floated the prospect of selling the business. But none of the proposals other people brought sat right with them. Some wanted to gut the building and turn it into a bar or fine dining restaurant. The Cases came with a different pitch.
“This has been my dream, not to have a place like Radosta’s, but Radosta’s,” Rob says. “I just never thought I’d get a chance.”
Now 56, the Lakeview native started coming to Radosta’s for roast beef po-boys when he was a kid. It was his father’s favorite and became his favorite.
Rob calls himself a journeyman in the restaurant business, working mostly front of the house and management posts, from old school restaurants like Irene’s Cuisine
The roast beef po-boys has sliced beef covered with debris and gravy, and it’s tender and flavorful with onion and garlic. Soft-shell crabs are another point of pride.
The Don Special pairs Italian sausage patties, made from Wayne’s recipe, with olive salad and provolone. The hot sausage patties, pulsing with the heat of five peppers (black, red, white, dried flakes and ground jalapeno), come from another of Wayne’s recipes.
Rob and Sandy have made a few changes. The hours now stretch into the evening, and there’s a computer system for orders. More people order online and for delivery now. Those who visit will find the small bar Rob built in the corner.
The centerpiece of Rodasta’s is still the long meat case, painted with the colors of the Italian flag. Wayne started out here 50 years ago as a butcher working the same counter. It’s still chugging along, and today he stands behind it in the mornings slicing the roast beef.
“Old things just keep working,” Sandy says. — Ian McNulty / The Times-Picayune
Jerry Chapman
Chef by Will Coviello
JERRY CHAPMAN CAME TO NEW ORLEANS FROM THE PHILIPPINES to work in the hotel and hospitality industry. But she fell in love with cooking and moved to the kitchen. After working at Saffron NOLA, she started her pop-up Taste of Kultures this spring. She serves some Filipino favorites as well as birria, jerk shrimp and more, and offers a broader range for catering. Chapman serves food at the Lafreniere Park Farmers & Art Market on Wednesdays and is doing Monday nights and Saturday, June 28, and every other Saturday at Miel Brewery & Taproom through July. See @tasteofkultures on Instagram for details.
How did you get interested in cooking?
JERRY CHAPMAN: I always liked cooking. I watched my family cook. It was my aunt and my grandma in the kitchen. My mom wasn’t that into cooking. I got more interested in helping them than playing outside. It was in me the whole time, I just didn’t realize it until I worked in the industry.
I moved here eight years ago. I am from Pampanga. It’s the culinary capital of the Philippines. In the Philippines, I studied and had a bachelor’s degree. There is an internship program where you can do an internship (here) for a year. I applied to six different states, and New Orleans chose me. I started working at the front desk of a hotel, but I fell in love working in restaurants. I was like, this is the job I can do every day without feeling like I am working.
I worked as a hostess at Trenasse. My best friend worked in the kitchen. She told me that they had an opening in the kitchen. I decided to give it a try, and that’s how it all started. I started in the salad and dessert station. They kept moving me up — to the fryer and the saute (station). I was doing everything, and then they made me the leader on the line. I was expediting as well. They offered me the sous chef job, but at the time I had my baby, and I couldn’t give them that much time.
Then I was spending more time managing people. My love and my passion is the food and the cooking. So I decided to move to a restaurant. I went to Saffron NOLA. I am really proud of being part of that team. That place really prepared me to go out on my own. Chef Arvinder Vilkhu trained me while working right next to me. He brought me on events, weddings and private catering.
Why did you start a pop-up?
C: What inspired me is the Nori Guys. Chef Nigel (Pais) is a friend of mine. We used to work together and then he started his own thing. That really motivated me.
I wanted to have my own brand. I want to be known for my own thing. I want to be able to express how I create the food.
I want people to learn about my culture as well. What I am cooking is a combination of everything I have learned from different chefs and people I have worked with. It’s a combination. That’s why I call it Taste of Kultures, because I don’t only offer my food and my culture.
Lumpia is one of our famous dishes. A lot of people know it here. Traditionally it is pork. But instead of pork, I use ground turkey, because a lot of people don’t eat pork. I want everybody to be able to try it.
It’s ground meat with a mix of vegetables and we roll it in a thin pastry wrapper. We fry it to golden brown and pair it with a sweet and sour sauce or a sweet chili sauce.
I do chicken adobo as well. The adobo is our national dish. Most of our dishes use pork, and for adobo, we normally use pork belly. But I do it with chicken, which also is a thing back home.
The main thing in the adobo is soy sauce and vinegar. The way I cook it is I sear the meat first and do the onions,
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garlic and ginger. Then we add soy sauce and vinegar and let it simmer. The flavors combine and you put in bay leaves and a little brown sugar to balance the saltiness of the dish, and also peppercorns. It sounds simple, but it’s different.
Those are the only two Filipino dishes I am doing at the moment (at the pop-up), but the rest I do for catering.
What other types of dishes do you serve?
C: The birria is really popular. When I worked at the restaurant, I tried birria tacos. When I make a dish, I don’t copy a recipe. I mix it up with what I know and my own taste buds and the ingredients I had back home. It tastes like birria, but there’s a little something different. I worked in an Indian restaurant, so I add more spices. I add brown coriander. I blend my own spices. I marinate it first, then I sear it and then I roast it in the oven for like four hours.
Traditionally they serve it with a broth that’s more watery. Mine is more like a sauce. It’s a thicker version. I use the drippings and gravy from roasting it. I also serve it with a green sauce that’s made with avocado, cilantro and lime.
I had an idea of turning it into empanadas. That’s one of the new items at Miel.
On Wednesdays, I do jerk shrimp tacos. I marinate the shrimp in jerk marinade and season it. I grill it and stuff in a corn tortilla with cheese, green, red and yellow peppers and for a sauce, I use the avocado, cilantro, lime sauce.
This straw-yellow Pinot Grigio yields attractive, tropical fruit aromas. Fresh and charming flavors gain substanceon the mid-palate,where fruitiness blends with traces of honey.
Jerry and Myron Chapman at their Taste of Kultures pop-up
PHOTO BY WILL COVIELLO / GAMBIT
Masi Masianco
PinotGrigio
Out to Eat is an index of Gambit contract advertisers. Unless noted, addresses are for New Orleans and all accept credit cards. Updates: Email willc@gambitweekly.com or call (504) 483-3106.
Angelo Brocato’s — 214 N. Carrollton Ave., (504) 486-1465; angelobrocatoicecream. com — This Mid-City sweet shop serves its own gelato in flavors like praline, salted caramel and tiramisu, as well as Italian ices in flavors like lemon, strawberry and mango. There also are cannolis, biscotti, fig cookies, tiramisu, macaroons and coffee drinks. No reservations. Lunch and dinner Tue.-Sun. $
Annunciation — 1016 Annunciation St., (504) 568-0245; annunciationrestaurant. com — Gulf Drum Yvonne is served with brown butter sauce with mushrooms and artichoke hearts. There also are oysters, seafood pasta dishes, steaks, lamb chops and more. Reservations recommended. Dinner Thu.-Mon. $$$
Bamboula’s — 514 Frenchmen St.; bamboulasmusic.com — The live music venue’s kitchen offers a menu of traditional and creative Creole dishes, such as Creole crawfish crepes with goat cheese and chardonnay sauce. Reservations accepted. Lunch, dinner and late-night daily. $$
The Blue Crab Restaurant and Oyster Bar — 118 Harbor View Court, Slidell, (985) 315-7001; 7900 Lakeshore Drive, (504) 284-2898; thebluecrabnola.com — Basin barbecue shrimp are served with rosemary garlic butter sauce over cheese grits with a cheese biscuit. The menu includes po-poys, fried seafood platters, raw and char-grilled oysters, boiled seafood in season, and more. Outdoor seating available. No reservations. Lakeview: Lunch and dinner Tue.-Sun. Slidell: Lunch Wed.-Fri., dinner Wed.-Sun., brunch Sat.-Sun. $$
Broussard’s — 819 Conti St., (504) 581-3866; broussards.com — The menu of contemporary Creole dishes includes bronzed redfish with jumbo lump crabmeat, lemon beurre blanc and vegetables. Brunch includes Benedicts, avocado toast, chicken and waffles, turtle soup and more. Reservations recommended. Outdoor seating available in the courtyard. Dinner Wed.-Sat., brunch Sun. $$$
Cafe Normandie — Higgins Hotel, 480 Andrew Higgins Blvd., (504) 528-1941; higginshotelnola.com/dining — The menu combines classic French dishes and Louisiana items like crab beignets with herb aioli. Sandwiches include po-boys, a muffuletta on flatbread and a burger. No reservations. Breakfast and lunch Mon.-Sat., dinner Fri.-Mon. $$
The Commissary — 634 Orange St., (504) 274-1850; thecommissarynola.com — Dickie Brennan’s Commissary supplies his other restaurant kitchens and also has a dine-in menu and prepared foods to go. A smoked turkey sandwich is served with bacon, tomato jam, herbed cream cheese, arugula and herb vinaigrette on honey oat bread. The menu includes dips, salads, sandwiches, boudin balls, fried oysters and more. No reservations. Outdoor seating available. Lunch Tue.-Sat. $$ Curio — 301 Royal St., (504) 717-4198; curionola.com — The creative Creole menu includes blackened Gulf shrimp served with chicken and andouille jambalaya. There also are crab cakes, shrimp and grits, crawfish etouffee, po-boys and more. Outdoor
$ — average dinner entrée under $10
$$ $11-$20 $$$ — $20-up
seating available on balcony. Reservations accepted. Lunch and dinner daily. $$ Dahla — 611 O’Keefe Ave., (504) 766-6602; dahlarestaurant.com — The menu includes popular Thai dishes like pad thai, drunken noodles, curries and fried rice. Crispy skinned duck basil is prepared with vegetables and Thai basil. Delivery available. Reservations accepted. Lunch and dinner Mon.-Sat. $$
Desire Oyster Bar — Royal Sonesta New Orleans, 300 Bourbon St., (504) 586-0300; sonesta.com/desireoysterbar — A menu full of Gulf seafood includes oysters served raw on the half-shell or char-broiled with with Parmesan, garlic and herbs. The menu also includes po-boys, po-boys, gumbo, blackened fish, fried seafood platters and more. Reservations recommended. Breakfast, lunch and dinner daily. $$
Dickie Brennan’s Bourbon House — 144 Bourbon St., (504) 522-0111; bourbonhouse.com — There’s a seafood raw bar with raw and char-broiled oysters, fish dip, crab fingers, shrimp and more. Redfish on the Half-shell is cooked skin-on and served with crab-boiled potatoes, frisee and lemon buerre blanc. The bar offers a wide selection of bourbon and whiskies. Reservations accepted. Lunch and dinner daily. $$$
Dickie Brennan’s Steakhouse — 716 Iberville St., (504) 522-2467; dickiebrennanssteakhouse.com — The menu includes a variety of steaks, plus seared Gulf fish, lobster pasta, barbecue shrimp and more. A 6-ounce filet mignon is served with fried oysters, creamed spinach, potatoes and bearnaise. Reservations recommended. Dinner Mon.-Sat. $$$
El Pavo Real — 4401 S. Broad Ave., (504) 266-2022; elpavorealnola.com — The menu includes tacos, enchiladas, quesadillas, ceviche. tamales and more. Pescado Vera Cruz features sauteed Gulf fish topped with tomatoes, olives, onion and capers, served with rice and string beans. Outdoor seating available. No reservations. Lunch and early dinner Tue.-Sat. $$
Juan’s Flying Burrito — 515 Baronne St., (504) 529-5825; 2018 Magazine St., (504) 569-0000; 4724 S. Carrollton Ave., (504) 486-9950; 8140 Oak St., (504) 897-4800; juansflyingburrito.com — The Flying Burrito includes steak, shrimp, chicken, cheddar jack cheese, black beans, rice, guacamole and salsa. The menu also includes tacos, quesadillas, enchiladas, fajitas, nachos, salads, rice and bean bowls with various toppings and more. Outdoor seating available. No reservations. Lunch and dinner Thu.-Tue. $$
Katie’s Restaurant — 3701 Iberville St., (504) 488-6582; katiesinmidcity.com — The Cajun Cuban with roasted pork, ham, Swiss cheese, pickles and mustard. The eclectic menu also includes char-grilled oysters, sandwiches, burgers, pizza, fried seafood platters, pasta, salads and more. Delivery available. Reservations accepted for large parties. Lunch and dinner daily. $$
Kilroy’s Bar — Higgins Hotel, 480 Andrew Higgins Blvd., (504) 528-1941; higginshotelnola.com/dining — The all-day bar menu includes sandwiches, soups, salads, flatbreads and a couple entrees. A muffuletta
flatbread is topped with salami, mortadella, capicola, mozzarella and olive salad. No reservations. Lunch Fri.-Mon., dinner daily. $$
Legacy Kitchen’s Craft Tavern — 700 Tchoupitoulas St., (504) 613-2350; legacykitchen.com — The menu includes oysters, flatbreads, burgers, sandwiches, salads and sharables plates like NOLA Tot Debris. A slow-cooked pulled pork barbecue sandwich is served with coleslaw on a brioche bun. Reservations accepted. Breakfast, lunch and dinner daily. $$
Legacy Kitchen Steak & Chop — 91 Westbank Expressway, Gretna, (504) 5132606; legacykitchen.com — The selection of steak and chops includes filet mignon, bone-in rib-eye, top sirloin and double pork chops. There also are burgers, salads, pasta, seafood entrees, char-broiled oysters and more. Reservations accepted. Outdoor seating available. Lunch and dinner Mon.-Sat. $$
Luzianne Cafe — 481 Girod St., (504) 2651972; luziannecafe.com — Boudin Benedict features two poached eggs over boudin and an English muffin, served with green tomato chow chow and hollandaise. No reservations. Delivery available. Breakfast and lunch Wed.-Sun. $$
Mikimoto — 3301 S. Carrollton Ave., (504) 488-1881; mikimotosushi.com — The South Carrollton roll includes tuna tataki, avocado and snow crab. The menu also has noodle dishes, teriyaki and more. Reservations accepted. Delivery available. Lunch Sun.Fri., dinner daily. $$
Mosca’s — 4137 Highway 90 West, Westwego, (504) 436-8950; moscasrestaurant.com — This family-style eatery serves Italian dishes and specialties including chicken a la grande, shrimp Mosca, baked oysters Mosca and chicken cacciatore. Reservations accepted. Dinner Wed.-Sat. Cash only. $$$
Mother’s Restaurant — 401 Poydras St., (504) 523-9656; mothersrestaurant.net — This counter-service spot serves po-boys dressed with sliced cabbage like the Famous Ferdi filled with ham, roast beef and debris. Creole favorites include jambalaya, crawfish etouffee, red beans and rice and more. Breakfast is available all day. Delivery available. No reservations. Breakfast, lunch and dinner daily. $$
Neyow’s Creole Cafe — 3332 Bienville St., (504) 827-5474; neyows.com — The menu includes red beans and rice with fried chicken or pork chops, as well as shrimp Creole, seafood platters, po-boys, chargrilled and raw oysters, salads and more. Side items include carrot souffle, mac and cheese, cornbread dressing, sweet potato tots and more. No reservations. Lunch daily, dinner Mon.-Sat., brunch Sun. $$
Nice Guys Bar & Grill — 7910 Earhart Blvd., (504) 302-2404; niceguysbarandgrillnola. com — Char-grilled oysters are topped with cheese and garlic butter, and other options include oysters Rockefeller and loaded oysters. The creative menu also includes seafood bread, a Cajun-lobster potato, wings, quesadillas, burgers, salads, sandwiches, seafood pasta, loaded fries and more. No reservations. Lunch daily, dinner Mon.-Sat. $$$
Orleans Grapevine Wine Bar & Bistro — 720 Orleans Ave., (504) 523-1930; orleansgrapevine.com — The wine bar offers cheese boards and appetizers to nosh with wines. The menu includes Creole pasta
with shrimp and andouille in tomato cream sauce. Reservations accepted for large parties. Outdoor seating available. Dinner Thu.-Sun. $$
Palace Cafe — 605 Canal St., (504) 5231661; palacecafe.com — The contemporary Creole menu includes signature dishes like crabmeat cheesecake with mushrooms and Creole meuniere sauce. There also are steaks, pasta, a burger and Gulf seafood dishes. Outdoor seating available. Reservations recommended. Breakfast and lunch Wed.-Fri., dinner Wed.-Sun., brunch Sat.-Sun. $$$
Parish Grill — 4650 W. Esplanade Ave., Suite 100, Metairie, (504) 345-2878; parishgrill.com — The menu includes burgers, sandwiches, pizza and sauteed andouille with fig dip, blue cheese and toast points. Reservations accepted. Lunch and dinner Mon.-Sat. $$
Peacock Room — Kimpton Hotel Fontenot, 501 Tchoupitoulas St., (504) 324-3073; peacockroomnola.com — At brunch, braised short rib grillades are served over grits with mushrooms, a poached egg and shaved truffle. The dinner menu has oysters, salads, pasta, shrimp and grits, a burger, cheese plates and more. Reservations accepted. Dinner Wed.-Mon., brunch Sun. $$ Rosie’s on the Roof — Higgins Hotel, 480 Andrew Higgins Blvd., (504) 528-1941; higginshotelnola.com/dining — The rooftop bar has a menu of sandwiches, burgers and small plates. Crab beignets are made with Gulf crabmeat and mascarpone and served with herb aioli. No reservations. Dinner Mon.-Sat. $$
Tableau — 616 St. Peter St., (504) 9343463; tableaufrenchquarter.com — The menu features traditional and creative Creole dishes. Pasta bouillabaisse features squid ink mafaldine, littleneck clams, Gulf shrimp, squid, seafood broth, rouille and herbed breadcrumbs. Outdoor seating available on the balcony. Reservations recommended. Dinner Wed.-Sun., brunch Thu.-Sun. $$$
Tacklebox — 817 Common St., (504) 827-1651; legacykitchen.com — The menu includes raw and char-broiled oysters, seafood platters, po-boys, fried chicken, crab and corn bisque and more. Redfish St. Charles is served with garlic-herb butter, asparagus, mushrooms and crawfish cornbread. Reservations accepted. Breakfast, lunch and dinner daily. $$
Theo’s Neighborhood Pizza — 1212 S. Clearview Parkway, Elmwood, (504) 733-3803; 2125 Veterans Memorial Blvd., Metairie, (504) 510-4282; 4024 Canal St., (504) 302-1133; 4218 Magazine St., (504) 894-8554; 70488 Highway 21, Covington, (985) 234-9420; theospizza.com — A Marilynn Pota Supreme pie is topped with mozzarella, pepperoni, sausage, hamburger, mushrooms, bell peppers and onions. There also are salads, sandwiches, wings, breadsticks and more. Delivery available. Lunch and dinner daily. $
The Vintage — 3121 Magazine St., (504) 324-7144; thevintagenola.com — There’s a full coffee drinks menu and baked goods and beignets, as well as a full bar. The menu has flatbreads, cheese boards, small plates and a pressed veggie sandwich with avocado, onions, arugula, red pepper and pepper jack cheese. No reservations. Delivery and outdoor seating available. Breakfast, lunch and dinner daily. $$
takes place over two days at the Barry P. Bonvillain Civic Center in Houma. All the participating dancers participate in the Grand Entry presentations at 1 & 7 p.m. Saturday, June 28, and 1 p.m. Sunday, June 29. The powwow also features tribal crafts and food. The event also is raising awareness about autism with the theme “Everyone Fits.” Doors open at 10 a.m. Admission is free. Visit unitedhoumanation.org for details.
Drugstore Lipstick
After four years of work, dark, synthpop band Drugstore Lipstick recently released its debut album, “Bio Girl,” a concept project about a robotic being sent to Earth by the devious deity Bimbo Yaga. The “fantastical queer tragedy attempts to show the ways queerness can be accompanied by a feeling of loneliness, and yearning to find someone to share that loneliness with, toxic or otherwise,” the band says. Drugstore Lipstick, led by vocalist and synths player Slade Warnken, perform at 8 p.m. Friday, June 27, at Saturn Bar. Admission is $10 at the door. Find the band on Instagram: @drugstore_lipstick.
Goya
Stoner metal band Goya took off in the early 2010s with a set of fulllengths and EPs of crushing, fuzzedout guitars and epic atmospherics. After the release of their 2017 album, “Harvester of Bongloads,” the Phoenix, Arizona, band slowed down a little on the output, but their recently released full-length, “In the Dawn of November,” shows they’re at the top of their sludge-y game. Goya plays at 9 p.m. Saturday, June 28, at Gasa Gasa with Baton Rouge metal band Reptilian War Machine. Tickets are $19.29 via gasagasanola.com.
Emma Willmann
New York comedian Emma Willmann has appeared on Comedy Central, Netflix and late-night TV and was on the TV show “Crazy Ex-Girlfriend.” She performs at 7 & 9 p.m. Friday, June 27, and Saturday, June 28, at Sports Drink. Tickets $32.63 (includes fees) via sportsdrink.org.
‘A Very Important Play... Again’
Improv meets Shakespeare as the actors in The Fools Ensemble create something like one of the Bard’s plays from scratch with help from the audience. The New Orleans Shakespeare
ARTS & ENTERTAINMENT
Festival at Tulane presents the show at 7:30 p.m. Wednesday, June 25, at Lupin Theatre. Tickets $25 via neworleansshakespeare.org.
Johnny Sketch and the Dirty Notes
For more than two decades, Johnny Sketch and the Dirty Notes have produced a jazz funk sound built on the talents of classically trained musicians but suited for barroom fun. The group headlines a Free Fridays show at Tipitina’s. Slugger also performs. At 9 p.m. Friday, June 27. There are no tickets, so first come, first served. For information, visit tipitinas.com.
Kyle Roussel Trio with Quiana Lynell
Keyboardist Kyle Roussel embraced all sorts of local sounds on his album “Church of New Orleans,” released early this year. He and his trio are joined by vocalist Quiana Lynell for two shows at Snug Harbor. Lynell won the Sarah Vaughan International Jazz Vocal Competition in 2017, and she also delves into blues, gospel, R&B and pop, as she did with Roussel in the WWOZ Jazz Tent at the most recent Jazz Fest. At 7:30 & 9:30 p.m. Saturday, June 28. Tickets are $41.30 via snugjazz.com.
(un)prompted Shakespeare:
‘King Lear’
The New Orleans Shakespeare Festival at Tulane presents the tragedy in its “(un)prompted” format, in which the actors rehearse the play together only once and perform it with the script projected for all to see. In “King Lear,” an aging king tries to divide his kingdom among his three daughters while testing their love and loyalty to him. At 7:30 p.m. Saturday, June 28, at Lupin Theatre. Tickets $25-$40 via neworleansshakespeare.org.
‘Querelle’
Actor Brad Davis plays the titular character in this 1982 erotic art film about a sailor on leave in a French port city and his visit to a brothel, which leads to a twisting plot involving gay sexual exploration and murder. The movie closes this year’s Pride Film Festival presented by Crescent City Leathermen at the Broad Theater. “Querelle” screens at 3 p.m. Sunday, June 29. Tickets are $12 via thebroadtheater.com.
Money Issue 2025
• A guide to managing your money in the current world – advice for every age group
• How to start saving for the first time over 40
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D.B.A. — Palmetto Bug Stompers, 6 pm; Colin Davis & Night People, 9:30 pm
DOS JEFES The Charlie Kohlmeyer Quartet, 8:30 pm
FRITZEL'S EUROPEAN JAZZ CLUB — Richard "Piano" Scott, 12 pm; Doyle Cooper Band, 2 pm; John Saavedra Band, 5 pm; Fritzels All Star Band w/Kevin Ray Clark, 8 pm
HOUSE OF BLUES — Stephen Marley, 7 pm
JAZZ PLAYHOUSE Brass-AHolics, 7:30 pm
MAHOGANY JAZZ HALL — The New Orleans Catahoulas, 6 pm; Jamil Sharif New Orleans Extravaganza, 8 pm THE MAISON Steven Walker, 4:30 pm; Single Malt Please, 9 pm
FRITZEL'S EUROPEAN JAZZ CLUB — Doyle Cooper Band, 1 pm; Sazerac Jazz Band, 5 pm; Fritzels All Star Band w/ Mike Fulton, 8 pm
HOWLIN’ WOLF — Hot 8 Brass Band, 10:30 pm
THE MAISON — Kimchisoop, 3 pm; Jenavieve Cooke & The Winding Boys, 7 pm
THE RABBIT HOLE — Beach House DJs, 10 pm
ROCK 'N' BOWL — Legends of Swamp Pop, 4 pm
SNUG HARBOR — Gladney, 7:30 & 9:30 pm
Weird & wonderful.
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& Infuriating. It’s all here. All in the Get Down from It’s our new show on everything food, music, fashion, politics and culture in New Orleans.
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what to do where to go who to see
More than the sum of its parts
by Will Coviello
SOME COLLAGE WORK is easy to spot.
“Have you ever seen one of those upscale thrift store paintings where someone has painted Darth Vader into a bucolic landscape?” says Ric Kasini Kadour, the founder of the Kolaj Institute and Kolaj magazine. “For us, that’s a way of collage thinking. It’s a juxtaposition of culture.”
But the world of collage is much bigger. It stretches back to Victorian-era scrapbooks and paper dolls and well before that in classical paintings that can be viewed as using concepts of collage before there was a word for the medium, Kadour says. It’s also on the cutting edge of technology, as AI tests the boundaries of reassembling already existing content.
Collage artists and fans will gather this week in New Orleans to explore collage in common physical mediums as well as fun events with digital media and film. Kadour organizes Kolaj Fest New Orleans, an annual event since 2018, and it will feature 50 visiting and local collage artists in symposiums and events June 25-29. There are artist presentations, museum and gallery events, workshops, parties and more.
People can register for the full slate of symposiums and events, but there also are free events, like the collage art and book market on Saturday afternoon at the New Orleans Healing Center. Also, a day of programming on Thursday, June 26, at the New Orleans Museum of Art is open to the public.
Some festival presentations engage exhibits at local galleries, including the New Orleans Photo Alliance, where there’s a Kolaj Institute exhibition on view through Aug. 14. Festival symposiums explore the intersections of science and collage, political protest collages, queer modernism and more. There also are workshops in various media and a session for educators on how to bring collage into the classroom.
Unlike art conferences in more academic settings, Kolaj Fest has some more fun events. “Collage on Screen” features a variety of films, most of them under five minutes, and there’s a segment on “21-87,” the 1964 film that George Lucas cited as part of the inspiration for the Force in “Star Wars.”
“Dinosaurs on the Moon” is a storytelling, performance and comedy event hosted by stand-up comic Jordan
Cerminara. It features roughly a dozen scheduled speakers and an open mic. And on Friday at Cafe Istanbul, there’s the Dancing Pixel Party. The party features projections of animated GIFs submitted to the festival, plus a DJ, dancing, a bar and collage making. Kadour discovered his interest in collage after following a stream of unrelated interests. He had worked on HIV prevention and health advocacy, ran an animal shelter, and a stint in journalism led to him writing an art book and opening a gallery in Montreal. There he got interested in artists making collages.
When he and an artist noticed a burgeoning digital media landscape (pre-Instagram), they launched Kolaj magazine, which they now ship to 36 countries. Kadour relocated to New Orleans about 11 years ago, and while the magazine is still published out of Montreal, he opened Kolaj Gallery in Marigny, adjacent to the New Orleans Healing Center. The gallery has some displays and hosts visiting artist residencies.
Collage may not get the respect of traditional painting or sculpture, he notes. That may be because it’s accessible and easy to get started, but it’s challenging to go from producing craft to art, he adds.
He also has noticed some differences in the art world. Collage artists tend to be more interested in collaboration and exchanging work and ideas. They see collage as both a medium and a genre, he says.
“Collage is a movement,” Kadour adds. “It’s about people making art together and exploring common philosophy of making that art.”
For more information about Kolaj Fest, visit kolajinstitute.org.
‘Squatch Watch’ by Jordan Cerminara PROVIDED IMAGE BY JORDAN CERMINARA
PREMIER CROSSWORD PUZZLE
LUXURY LIST
By Frank A. Longo
ACROSS 1 Have
8 Made sure of 13 Medieval Mongol invaders
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26 Titanic, e.g.
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deras swash-buckler film, with “The”
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63 Reminiscing out loud
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72 Golf vehicle
73 Enraged
76 Cast events after filming is done
80 Cougar
81 Cotton block
82 “If it -- broke ...”
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78 Ring arbiter
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Abbr.
a bawl
Honda’s luxury brand
Mourn aloud 67 Singer Ariana 68 “Alas, -- not to be”
Singer India 70 Renowned reindeer driver
73 She wrote “The Life-Changing Magic of Tidying Up”
81 Completion of an unpleasant task 84 Bud or Miller 87 Ocean shore 88 Rhythmic rainfall sound
89 Try to be like
90 Dir. from Reno to L.A. 92 Lodging for troops 94 Lifts up 96 Darts around 97 Musical cowboy Gene
