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Katrina Five Ways
An essay originally published in the Summer 2006 issue of The Kenyon Review, reposted here in recognition of the 19th anniversary of Hurricane Katrina.
On my first trip back, I found New Orleans unspeakably lonely. The devastation wrought by the levee breaks went on and on, block after block in Lakeview (where I grew up), Mid-City (where my mother lived), the Lower Ninth Ward, and St. Bernard Parish—areas once shimmering with funky life, now lifeless and forlorn. Everywhere dump trucks trolled—FEMA paid by the load. Men with masks directed traffic, sometimes in Hazmat gear. I passed huge dumping areas piling ever higher, flooded cars, blocks and blocks boarded up. I faced one surprise detour after another. Refrigerators taped shut against their stench littered the sidewalks. Many trees and all the grass were dead—drowned. Everywhere I looked for the high-water line— sometimes inches, sometimes feet, sometimes over my head. Gray dust covered everything. It was like being in an old sepia photograph, but with blue sky.
Race and the Politics of Joy
Kamala’s sudden transformation from a — let’s admit it — somewhat disappointing vice president to a presidential candidate fully self-possessed displays all the marks of her African heritage. It is perfectly in tune with the Black Joy movement.
Of course the transition would look effortless, a sign of its deep authenticity. Like 8-year-old Louis at the Iroquois Theater, like Robert Johnson at the crossroads, Kamala has been touched by Eshu. With a laugh at once warm and cool — blessed by itutu — she rebuilds the Obama and Biden coalitions, and then some. Kamala’s community puts aside Trump’s fear mongering, embracing generosity and joy.
Advice from New Orleans’s Great Drummer Johnny Vidacovich
There’s a story in the New Orleans music world about one of our great drummers, Johnny Vidacovich. The story goes, a student comes for his first lesson. Johnny listens. He says, hey man, you’re a very proficient drummer. My job is going to be to slop you up … To slop you up. That verb captures improvisation’s appeal: while much of the world values craft and virtuosity, there is also a value in apparent artlessness.
Jon Batiste’s Call and Response at NYC’s Beacon
In Winging It, I quote New Orleans Jon Batiste’s reflections on the central role of “call and response” in the arts (and in comic improv’s “Yes, and…”). In speaking with Terry Gross on NPR’s Fresh Air, Jon remarked of a Bach Two-Part Invention:
An Interview with Alon Shaya, Chef/Owner of Domenica Restaurant in The Roosevelt Hotel in New Orleans
As a little boy in Philadelphia, Alon Shaya spent most of his time in the kitchen with his mother and grandmother, which instilled in him a passion for cooking. After training at the Culinary Institute of America, Alon interned at the Rio Hotel and Casino in Las Vegas, too young to gamble, but ready to take on the casino kitchens. In 2001, he opened Antonio’s Ristorante at Harrah’s Casino, St. Louis. There he met Octavio Mantilla, general manager and co-owner of Besh Restaurant Group, who lured him to New Orleans. As chef de cuisine at Besh Steak in Harrah’s Casino, New Orleans, Alon worked closely with Chef John Besh. In 2007, Louisiana Cookin’ showcased him on its cover and in a corresponding feature about five young “Chefs to Watch.” Alon and Chef Besh forged a partnership in 2008 and decided to open Domenica, a family-oriented, authentic Italian restaurant in New Orleans’ historic Roosevelt Hotel. Alon also played a line chef in a recurring role in HBO’s Treme.